Program Book / CAMA Presents the Chicago Symphony Orchestra with Maestro Riccardo Muti / January 25, 2023, The Granada Theatre, Santa Barbara, 7:30PM
Wednesday, January 25, 2023, 7:30PM Chicago Symphony Orchestra Riccardo Muti, Zell Music Director “The world needs harmony. Music helps us to understand each other’s point of view.” — Riccardo Muti Consistently hailed as one of the leading orchestras in the world, the legacy of the Chicago Symphony Orchestra and Music Director Riccardo Muti marks an extraordinary chapter in the CSO’s 132‑year history. One of the world’s preeminent conductors, Maestro Muti’s tenure with the CSO concludes in 2023, marking the thirteenth and final year of an exceptional musical partnership that has thrilled audiences in Chicago and around the world. The CSO’s talented musicians are the driving force behind the ensemble’s famous sound heard on best‑selling recordings and annually at more than 150 concerts at Symphony Center in Chicago, summers at Ravinia, and tours in the United States and abroad. Listeners around the world can hear the CSO in weekly airings of the CSO Radio Broadcast Series. PROGRAM: LUDWIG VAN BEETHOVEN: Coriolan Overture BEETHOVEN: Symphony No.8 in F Major, Op.93 ANATOLY LYADOV: The Enchanted Lake MODEST MUSSORGSKY: Pictures from an Exhibition (orch. Maurice Ravel) PRE-CONCERT LECTURE: Ben Pringle, Musicologist and Vice President/Senior Trust Advisor Team Lead, Northern Trust SOhO Restaurant & Music Club, 1221 State Street, Suite 205, Santa Barbara Food available for purchase starting 4:30PM, cash bar ⫽ Lecture 6:00–6:45PM Dinner Reservations: (805) 962‑7776 / Enjoy dinner with drinks and then walk across State Street to the Granada Theatre for the concert by the Chicago Symphony Orchestra! Dinner guests will be offered priority seating close to the SOhO stage. / Presented by the CAMA Women’s Board Season Sponsor: SAGE Publishing Primary Sponsors: Northern Trust Anonymous CAMA Board of Directors Principal Sponsors: Herbert & Elaine Kendall Foundation Kum Su Kim & John Perry Sponsors: Alison & Jan Bowlus Edward S. DeLoreto Bob & Val Montgomery Michele Saltoun Co‑Sponsors: Peggy & Kurt Anderson Bob Boghosian & Beth Gates‑Warren Dorothy & John Gardner The Granada Theatre Ellen & John Pillsbury •
Wednesday, January 25, 2023, 7:30PM
Chicago Symphony Orchestra
Riccardo Muti, Zell Music Director
“The world needs harmony. Music helps us to understand each other’s point of view.”
— Riccardo Muti
Consistently hailed as one of the leading orchestras in the world, the legacy of the Chicago Symphony Orchestra and Music Director Riccardo Muti marks an extraordinary chapter in the CSO’s 132‑year history. One of the world’s preeminent conductors, Maestro Muti’s tenure with the CSO concludes in 2023, marking the thirteenth and final year of an exceptional musical partnership that has thrilled audiences in Chicago and around the world. The CSO’s talented musicians are the driving force behind the ensemble’s famous sound heard on best‑selling recordings and annually at more than 150 concerts at Symphony Center in Chicago, summers at Ravinia, and tours in the United States and abroad. Listeners around the world can hear the CSO in weekly airings of the CSO Radio Broadcast Series.
PROGRAM:
LUDWIG VAN BEETHOVEN: Coriolan Overture
BEETHOVEN: Symphony No.8 in F Major, Op.93
ANATOLY LYADOV: The Enchanted Lake
MODEST MUSSORGSKY: Pictures from an Exhibition (orch. Maurice Ravel)
PRE-CONCERT LECTURE:
Ben Pringle, Musicologist and Vice President/Senior Trust Advisor Team Lead, Northern Trust
SOhO Restaurant & Music Club, 1221 State Street, Suite 205, Santa Barbara
Food available for purchase starting 4:30PM, cash bar ⫽ Lecture 6:00–6:45PM
Dinner Reservations: (805) 962‑7776 / Enjoy dinner with drinks and then walk across State Street to the Granada Theatre for the concert by the Chicago Symphony Orchestra! Dinner guests will be offered priority seating close to the SOhO stage. / Presented by the CAMA Women’s Board
Season Sponsor: SAGE Publishing
Primary Sponsors:
Northern Trust
Anonymous
CAMA Board of Directors
Principal Sponsors:
Herbert & Elaine Kendall Foundation
Kum Su Kim & John Perry
Sponsors:
Alison & Jan Bowlus
Edward S. DeLoreto
Bob & Val Montgomery
Michele Saltoun
Co‑Sponsors:
Peggy & Kurt Anderson
Bob Boghosian & Beth Gates‑Warren
Dorothy & John Gardner
The Granada Theatre
Ellen & John Pillsbury
•
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Presenting the world’s finest classical artists since 1919
CAMA’S 2022/2023 SEASON
104 th Concert Season
Riccardo Muti
INTERNATIONAL SERIES at the Granada Theatre
MASTERSERIES at the Lobero Theatre
COMMUNITY ARTS MUSIC ASSOCIATION OF SANTA BARBARA, INC.
Todd Rosenberg Photography
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Locally owned and operated
since 1974
Over 150,000 titles for every age and interest
805-682-6787 3321 State St.
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Presenting the world’s finest classical artists since 1919
INTERNATIONAL SERIES
AT THE GRANADA THEATRE
SEASON SPONSORSHIP: SAGE PUBLISHING
Todd Rosenberg Photography
CHICAGO SYMPHONY
ORCHESTRA
RICCARDO MUTI
Zell Music Director
WEDNESDAY, JANUARY 25, 2023, 7:30PM
Granada Theatre, Santa Barbara
BOT TEG
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Emeritus Directors
Presenting the world’s finest classical artists since 1919
BOARD OF DIRECTORS
(As of September 29, 2022)
ROBERT K. MONTGOMERY
Chairman
DEBORAH BERTLING
Chair-Elect and President, Women's Board
Rosalind Amorteguy-Fendon
Todd A. Amspoker
Marta Babson
Bitsy Becton Bacon
Isabel Bayrakdarian
Andy Chou
Stephen Cloud
NancyBell Coe
Bridget Colleary
Joan Crossland
Edward S. DeLoreto
GEORGE MESSERLIAN
Vice Chair
JAN BOWLUS
Treasurer
CHRISTINE EMMONS
Secretary
Jill Felber
Raye Haskell Melville
Judith L. Hopkinson
Elizabeth Karlsberg
Frank E. McGinity
William Meeker
George Messerlian
Patti Ottoboni
Michele Saltoun
Judith F. Smith
Nancy L. Wood
Edward E. Birch
Robert J. Emmons
Arthur R. Gaudi
James H. Hurley, Jr.
Sara Miller McCune
Russell S. Bock*
Dr. Robert M. Failing*
Mrs. Maurice E. Faulkner*
Léni Fé Bland*
Stephen Hahn*
Dr. Melville H. Haskell, Jr.*
Mrs. Richard Hellmann*
Dr. Dolores M. Hsu*
Herbert J. Kendall*
Robert Light*
Mrs. Frank R. Miller, Jr.*
Mary Lloyd Mills*
Mrs. Ernest J. Panosian*
Kenneth W. Riley*
Andre Saltoun*
Jan Severson*
* Deceased
Administration
Mark E. Trueblood
President
Elizabeth Alvarez
Director of Development
Michael Below
Office Manager/
Subscriber Services
Justin Rizzo-Weaver
Director of Operations
2060 Alameda Padre Serra, Suite 201 ⫽ Santa Barbara, CA 93103 ⫽ Tel (805) 966-4324 ⫽ Fax (805) 962-2014 ⫽ info@camasb.org
INTERNATIONAL SERIES
AT THE GRANADA THEATRE
SEASON SPONSORSHIP: SAGE PUBLISHING
OCTOBER 10, 2022
CITY OF
BIRMINGHAM
SYMPHONY
ORCHESTRA
Principal Sponsor
Bob & Val Montgomery
Sponsor
CAMA Women’s Board
Co-Sponsors
Elizabeth & Andrew Butcher
Beth & George Wood
Zegar Family Fund
MAY 18, 2023
CURTIS
SYMPHONY
ORCHESTRA
(CURTIS INSTITUTE OF
MUSIC/PHILADELPHIA)
Sponsors
Anonymous
Alison & Jan Bowlus
Co-Sponsor
Rosalind Amorteguy-Fendon
& Ronald Fendon
JANUARY 25, 2023
CHICAGO
SYMPHONY
ORCHESTRA
Primary Sponsors
Northern Trust
Anonymous
CAMA Board of Directors
Principal Sponsors
Herbert and Elaine
Kendall Foundation
Kum Su Kim & John Perry
Sponsors
Alison & Jan Bowlus
Edward S. DeLoreto
Bob & Val Montgomery
Michele Saltoun
Co-Sponsors
Peggy & Kurt Anderson
Bob Boghosian
& Beth Gates-Warren
Dorothy & John Gardner
The Granada Theatre
Ellen & John Pillsbury
FEBRUARY 13, 2023
FILHARMONIE
BRNO
(OF THE CZECH REPUBLIC)
Sponsors
Edward S. DeLoreto
Lois S. Kroc
Shanbrom Family Foundation
Co-Sponsor
Anonymous
Bob Boghosian &
Beth Gates-Warren
MAY 28, 2023
LOS ANGELES
PHILHARMONIC
Principal Sponsors
Mosher Foundation
Bob & Val Montgomery
Sponsors
Bitsy & Denny Bacon and
The Becton Family Foundation
Judith L. Hopkinson
Sara Miller McCune
The Towbes Fund for the
Performing Arts, a field of interest
fund of the Santa Barbara Foundation
George & Judy Writer
Co-Sponsor
Robert & Christine Emmons
MASTERSERIES
AT THE LOBERO THEATRE
SEASON SPONSORSHIP: ESPERIA FOUNDATION
OCTOBER 24, 2022
JUILLIARD STRING
QUARTET
EXCLUSIVE SPONSOR
Bitsy & Denny Bacon
DECEMBER 7, 2022
HÉLÈNE GRIMAUD, piano
Sponsor
Alison & Jan Bowlus
Co-Sponsors
CAMA Women’s Board
Nancy & Byron K. Wood
Concert Partners
Stephen Cloud
Raye Haskell Melville
Les & Maureen Shapiro
MARCH 4, 2023
LOS ROMEROS
THE ROMERO
GUITAR QUARTET
“THE ROYAL FAMILY OF THE GUITAR”
Presented by CAMA and
the Lobero Theatre Foundation
In Celebration of the Lobero’s
150th Anniversary
(February 22, 1873 – February 22, 2023)
EXCLUSIVE SPONSOR
Marta Babson
APRIL 24, 2023
AUGUSTIN
HADELICH, solo violin
EXCLUSIVE SPONSOR
Jocelyne & William Meeker
Remembering
ANDRE SALTOUN
Gifts made in Memory of Andre Saltoun
Helen Arnold
Melvin Brooks
Sumner Fein
Rosalind Amorteguy-
Fendon & Ronald Fendon
Eunice & J.Thomas Fly
Priscilla & Jason Gaines
Elliot Gross
Joanne C. Holderman
Susan Johnston
Kum Su Kim & John Perry
Paul Levine
Nancy Lynn
Jaclyn Maduff
Lesli Marasco
Sara Miller McCune
Frank McGinity |
Debbie Geremia
Sandra Merwizer
Jason Saltoun-Ebin
Stuart Silverman
Hayley Thompson
Nancy & Byron Kent Wood
Patricia Yzurdiaga
CAMA fondly remembers Andre Meir Saltoun,
former Board Director and Director Emeritus,
who was cherished by the Community Arts
Music Association community. Andre joined
the CAMA Board in 2005 and served for
14 years, including as President from 2012
through 2015.
Born in Iraq and fluent in French, Arabic
and English, a teacher encouraged Andre to
pursue higher education in the United States.
Andre undertook a harrowing journey which
included traveling on a coal boat filled with
unsavory characters from France to Texas.
A loan from a boat officer enabled Andre to
get to the East Coast where bridge games
and washing dishes paid for his successful
completion of an undergraduate degree at
the University of North Carolina at Chapel Hill.
Andre attended the University of
Wisconsin Law School where he served as
managing editor of the Wisconsin Law Review.
Upon graduation, he accepted an offer at the
first and only international law firm at the
time, Baker & McKenzie in Chicago. Given
his language skills and counsel to American
and French multinationals, Andre worked
closely with another senior partner, Christine
Lagarde of Baker & McKenzie, Paris, who currently
serves as President of the European
Central Bank. Andre was awarded the French
Legion of Honor in 1975, the highest decoration
awarded to a civilian by France, for the
many years he served as legal counsel to the
French government in Chicago.
In the late 1980s Andre moved to San
Francisco where he met his wife, Michele. As
they looked forward to Andre’s retirement in
2005, the couple chose Montecito as their
home. Andre enjoyed an active life in Santa
Barbara that included memberships at the
Santa Barbara Polo and Racquet Club and
Birnam Wood Golf Club. While Andre served
as an officer and member of numerous committees
during his years on the CAMA Board,
perhaps his greatest contribution was in
skillfully guiding the process by which CAMA
decided to move our International Series
from the Arlington Theatre to the newly renovated
Granada Theatre in 2008.
Andre passed away peacefully at his
Montecito home in July 2020 with his wife,
Michele, by his side.
6 CAMA'S 104 TH CONCERT SEASON
Presenting the world’s finest classical artists since 1919
MASTERSERIES AT THE GRANADA THEATRE
SEASON SPONSOR: SAGE PUBLISHING
CHICAGO SYMPHONY ORCHESTRA
RICCARDO MUTI Zell Music Director
Wednesday, January 25, 2023, 7:30PM
The Granada Theatre, Santa Barbara
Ludwig van BEETHOVEN (1770–1827)
Coriolan Overture, Op.62
BEETHOVEN
Symphony No.8 in F Major, Op.93
1. Allegro vivace con brio
2. Allegretto scherzando
3. Tempo di menuetto
4. Allegro vivace
INTERMISSION
Anatoly LYADOV (1855–1914)
The Enchanted Lake, Op.62
Modest MUSSORGSKY (1839–1881)
Pictures from an Exhibition
{orch. Maurice RAVEL (1875–1937)}
Promenade
1. Gnomus {Gnome}
Promenade—
2. Il vecchio castello {The Old Castle}
Promenade—
3. Tuileries (Dispute d'enfants après jeux)
{Tuileries (Children's Quarrel after Games)}
4. Bydło {Cattle}
Promenade—
5. Балет невылупившихся птенцов
{Ballet of the Chicks in their Shells}
6. „Samuel“ Goldenberg und „Schmuÿle“
{“Samuel” Goldenberg and “Schmuÿle”}
7. Limoges. Le marché (La grande nouvelle)
{Limoges. The Market (The Great News)}
8. Catacombæ (Sepulcrum romanum)—
Promenade: Con [sic] mortuis in lingua mortua
{Catacombs (Roman tomb)—Promenade:
With the dead in a dead language}
9. Избушка на курьих ножках (Баба-Яга)
{The Hut on Hen’s Legs (Baba-Yaga)}—
10. Богатырские ворота
(В стольном городе во Киеве)
{The Bogatyr Gates (In the Capital in Kiev)}
(“The Great Gate of Kiev”)
Program subject to change.
The Chicago Symphony Orchestra’s North American Tour is generously sponsored by the Zell Family Foundation.
CAMA thanks our generous sponsors who have made this evening’s performance possible:
International Series Season Sponsor: SAGE Publishing
Primary Sponsors: Northern Trust • Anonymous • CAMA Board of Directors
Principal Sponsors: Herbert & Elaine Kendall Foundation • Kum Su Kim & John Perry
Sponsors: Alison & Jan Bowlus • Edward S. DeLoreto • Bob & Val Montgomery • Michele Saltoun
Co-Sponsors: Peggy & Kurt Anderson • Bob Boghosian & Beth Gates-Warren
Dorothy & John Gardner • The Granada Theatre • Ellen & John Pillsbury
We request that you switch off cellular phones, watch alarms and pager signals during the performance. The photographing
or sound recording of this concert or possession of any device for such photographing or sound recording is prohibited.
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
7
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CHICAGO SYMPHONY
ORCHESTRA
The Chicago Symphony Orchestra is consistently
hailed as one of the world’s leading
orchestras, and in September 2010,
renowned Italian conductor Riccardo Muti
became its tenth music director. During
his tenure, the Orchestra has deepened its
engagement with the Chicago community,
nurtured its legacy while supporting a new
generation of musicians and composers,
and collaborated with visionary artists.
The history of the Chicago Symphony
Orchestra began in 1889, when Theodore
Thomas, then the leading conductor in
America and a recognized music pioneer,
was invited by Chicago businessman
Charles Norman Fay to establish a symphony
orchestra here. Thomas’s aim to build
a permanent orchestra with performance
capabilities of the highest quality was realized
at the first concerts in October 1891
in the Auditorium Theatre. Thomas served
as music director until his death in January
1905—just three weeks after the dedication
of Orchestra Hall, the Orchestra’s permanent
home designed by Daniel Burnham.
Frederick Stock, recruited by Thomas
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
9
The CAMA Women’s Board invites you to
SAVE THE DATE!
with cocktails and
hors d’oeuvres at
The Cabrillo Pavilion
Monday
March 20, 2023
5:30–7:30 pm
Presenting the world’s finest classical artists since 1919
(805) 966-4324
info@camasb.org
www.camasb.org
to the viola section in 1895, became assistant
conductor in 1899 and succeeded
the Orchestra’s founder. His tenure lasted
37 years, from 1905 to 1942—the longest
of the Orchestra’s music directors. Dynamic
and innovative, the Stock years saw the
founding of the Civic Orchestra of Chicago,
the first training orchestra in the United
States affiliated with a major symphony
orchestra, in 1919. Stock also established
youth auditions, organized the first subscription
concerts especially for children
and began a series of popular concerts.
Three eminent conductors headed the
Orchestra during the following decade: Désiré
Defauw was music director from 1943
to 1947; Artur Rodzinski assumed the post
in 1947–48; and Rafael Kubelík led the
ensemble for three seasons from 1950 to
1953. The next ten years belonged to Fritz
Reiner, whose recordings with the Chicago
Symphony Orchestra are still considered
performance hallmarks. It was Reiner who
invited Margaret Hillis to form the Chicago
Symphony Chorus in 1957. For the five seasons
from 1963 to 1968, Jean Martinon
held the position of music director.
Sir Georg Solti, the Orchestra’s eighth
music director, served from 1969 until
1991. His arrival launched one of the most
successful musical partnerships of our
time, and the CSO made its first overseas
tour to Europe in 1971 under his direction,
along with numerous award-winning recordings.
Solti then held the title of music
director laureate and returned to conduct
the Orchestra for several weeks each season
until his death in September 1997.
Daniel Barenboim was named music
director designate in January 1989, and he
became the Orchestra’s ninth music director
in September 1991, a position he held until
June 2006. His tenure was distinguished by
the opening of Symphony Center in 1997,
highly praised operatic productions at Orchestra
Hall, numerous appearances with
the Orchestra in the dual role of pianist and
conductor, twenty-one international tours,
and the appointment of Duain Wolfe as the
Chorus’s second director.
Pierre Boulez’s long-standing relationship
with the Orchestra led to his appointment
as principal guest conductor in 1995.
He was named Helen Regenstein Conductor
Emeritus in 2006, a position he held until
his death in January 2016. Only two others
have served as principal guest conductors:
Carlo Maria Giulini, who appeared in Chicago
regularly in the late 1950s, was named
to the post in 1969, serving until 1972; Claudio
Abbado held the position from 1982 to
1985. From 2006 to 2010, Bernard Haitink
was the Orchestra's first principal conductor.
Cellist Yo-Yo Ma served as the CSO’s
Judson and Joyce Green Creative Consultant
from 2010 to 2019. Hilary Hahn currently
is the CSO’s Artist-in-Residence, a
role that brings her to Chicago for multiple
residencies each season.
Jessie Montgomery was appointed
Mead Composer-in-Residence in 2021. She
follows ten highly regarded composers
in this role, including John Corigliano and
Shulamit Ran—both winners of the Pulitzer
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
11
Prize for Music. In addition to composing
works for the CSO, Montgomery curates the
contemporary MusicNOW series.
The Orchestra first performed at Ravinia
Park in 1905 and appeared frequently
through August 1931, after which the park
was closed for most of the Great Depression.
In August 1936, the Orchestra helped
to inaugurate the first season of the Ravinia
Festival, and it has been in residence nearly
every summer since.
Since 1916, recording has been a significant
part of the Orchestra’s activities.
Releases on CSO Resound, the Orchestra’s
independent recording label, include the
Grammy Award–winning release of Verdi’s
Requiem led by Riccardo Muti. Recordings
by the Chicago Symphony Orchestra and
Chorus have earned sixty-three Grammy ®
Awards from the Recording Academy.
Todd Rosenberg Photography
12 CAMA'S 104 TH CONCERT SEASON
Todd Rosenberg Photography
RICCARDO
MUTI
conductor
Riccardo Muti is one of the world’s preeminent
conductors. In 2010, he became
the tenth music director of the Chicago
Symphony Orchestra. Muti’s leadership
has been distinguished by the strength of
his artistic partnership with the Orchestra;
his dedication to performing great works
of the past and present, including 15 world
premieres to date; the enthusiastic reception
he and the CSO have received on national
and international tours; and eleven
recordings on the CSO Resound label,
with three Grammy awards among them.
In addition, his contributions to the cultural
life of Chicago—with performances
throughout its many neighborhoods and at
Orchestra Hall—have made a lasting impact
on the city.
Born in Naples, Riccardo Muti studied
piano under Vincenzo Vitale at the Conservatory
of San Pietro a Majella, graduating
with distinction. He subsequently received
a diploma in composition and conducting
from the Giuseppe Verdi Conservatory in
Milan under the guidance of Bruno Bettinelli
and Antonino Votto.
He first came to the attention of critics
and the public in 1967, when he won
the Guido Cantelli Conducting Competition,
by unanimous vote of the jury, in Milan. In
1968, he became principal conductor of the
Maggio Musicale Fiorentino, a position he
held until 1980. In 1971, Muti was invited by
Herbert von Karajan to conduct at the Salzburg
Festival, the first of many occasions,
which led to a celebration of fifty years of
artistic collaboration with the Austrian festival
in 2020. During the 1970s, Muti was
chief conductor of London’s Philharmonia
Orchestra (1972–1982) succeeding Otto
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
13
Klemperer. From 1980 to 1992, he inherited
the position of music director of the Philadelphia
Orchestra from Eugene Ormandy.
From 1986 to 2005, he was music director
of Teatro alla Scala, and during this
time, he directed major projects such as the
three Mozart/Da Ponte operas and Wagner’s
Ring cycle in addition to his exceptional
contributions to the Verdi repertoire.
Alongside the classics, he brought many
rarely performed and neglected works to
light, including pieces from the Neapolitan
school, as well as operas by Gluck, Cherubini
and Spontini. Poulenc’s Dialogues of the
Carmelites earned Muti the prestigious Abbiati
Prize. His tenure as music director of
Teatro alla Scala, the longest in its history,
culminated in the triumphant reopening of
the restored opera house on December 7,
2004, with Salieri’s Europa riconosciuta.
Over the course of his extraordinary career,
Riccardo Muti has conducted the most
important orchestras in the world: from the
Berlin Philharmonic to the Bavarian Radio
Symphony Orchestra and from the New
York Philharmonic to the Orchestre National
de France; as well as the Vienna Philharmonic,
an orchestra to which he is linked by
particularly close and important ties, and
with which he has appeared at the Salzburg
Festival since 1971.
When Muti was invited to lead the Vienna
Philharmonic’s 150th-anniversary
concert, the orchestra presented him with
the Golden Ring, a special sign of esteem
and affection, awarded only to a few select
conductors. In 2021, he conducted the
Vienna Philharmonic in the New Year’s
Concert for the sixth time, having previously
led the concert in 1993, 1997, 2000,
2004, and 2018. The 2018 recording went
double platinum, and the 2021 concert
received the prestigious audience award,
the Romy Prize in the TV Moment of the
Year category.
In April 2003, the French national radio
channel, France Musique, broadcast a
“Journée Riccardo Muti,” consisting of fourteen
hours of his operatic and symphonic
recordings made with all the orchestras
he has conducted throughout his career.
On December 14 of the same year, he conducted
the long-awaited opening concert of
the newly renovated La Fenice opera house
in Venice. Radio France broadcast another
“Riccardo Muti Day” on May 17, 2018, when
he led a concert at the Auditorium de la
Maison de la Radio.
Muti’s recording activities, already notable
by the 1970s and distinguished since
by many awards, range from symphonic
music and opera to contemporary compositions.
The label RMMusic is responsible
for Riccardo Muti’s recordings.
Muti has received numerous international
honors over the course of his career.
He is Cavaliere di Gran Croce of the Italian
Republic and a recipient of the German Verdienstkreuz.
He received the decoration of
Officer of the Legion of Honor from French
President Nicolas Sarkozy in a private ceremony
held at the Élysée Palace. He was
made an honorary Knight Commander of
the British Empire by Queen Elizabeth II in
14 CAMA'S 104 TH CONCERT SEASON
Britain. The Salzburg Mozarteum awarded
him its silver medal for his contribution to
Mozart’s music, and in Vienna, he was elected
an honorary member of the Gesellschaft
der Musikfreunde, Vienna Hofmusikkapelle
and Vienna State Opera. The State of Israel
has honored him with the Wolf Prize in the
arts. In July 2018, President Petro Poroshenko
presented Muti with the State Award
of Ukraine during the Roads of Friendship
concert at the Ravenna Festival in Italy following
earlier performances in Kiev. In October
2018, Muti received the prestigious
Praemium Imperiale for Music of the Japan
Arts Association in Tokyo.
In September 2010, Riccardo Muti became
music director of the Chicago Symphony
Orchestra and was named 2010 Musician
of the Year by Musical America. At
the 53rd annual Grammy Awards ceremony
in 2011, his live performance of Verdi’s
Messa da Requiem with the Chicago Symphony
Orchestra and Chorus was awarded
Grammy awards for Best Classical Album
and Best Choral Performance. In 2011,
Muti was selected as the recipient of the
coveted Birgit Nilsson Prize, presented in a
ceremony at the Royal Opera in Stockholm
in the presence of King Carl XVI Gustaf and
Queen Silvia. In 2011, he received the Opera
News Award in New York City, and he
was awarded Spain’s prestigious Prince of
Asturias Prize for the Arts. That summer,
he was named an honorary member of the
Vienna Philharmonic and honorary director
for life of the Rome Opera. In May 2012, he
was awarded the highest papal honor: the
Knight of the Grand Cross First Class of
the Order of St. Gregory the Great by Pope
Benedict XVI. In 2016, he was honored by
the Japanese government with the Order
of the Rising Sun, Gold and Silver Star. In
2021, Muti received the Great Golden Decoration
of Honor for Services to the Republic
of Austria, the highest possible civilian
honor from the Austrian government. Muti
has received more than twenty honorary
degrees from the most important universities
in the world.
Passionate about teaching young musicians,
Muti founded the Luigi Cherubini
Youth Orchestra in 2004 and the Riccardo
Muti Italian Opera Academy in 2015.
Through Le vie dell’Amicizia (The Roads of
Friendship), a project of the Ravenna Festival
in Italy, he has conducted in many of
the world’s most troubled areas in order to
bring attention to civic and social issues.
Riccardo Muti’s vast catalog of recordings,
numbering in the hundreds, ranges
from the traditional symphonic and operatic
repertoires to contemporary works. He
also has written four books: Verdi, l’italiano
and Riccardo Muti, An Autobiography: First
the Music, Then the Words, both of which
have been published in several languages;
as well as Infinity Between the Notes: My
Journey Into Music, published in May 2019,
and The Seven Last Words of Christ: a Dialogue
with Massimo Cacciari, published in
2020; both titles are available in Italian.
www.riccardomuti.com
www.riccardomutioperacademy.com
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NOTES
ON THE PROGRAM
By Phillip Huscher
LUDWIG VAN BEETHOVEN
Born December 16, 1770; Bonn, Germany
Died March 26, 1827; Vienna, Austria
Coriolan Overture, Op.62
COMPOSED 1807
FIRST PERFORMANCE March 1807;
Vienna, Austria
INSTRUMENTATION two flutes, two
oboes, two clarinets, two bassoons, two
horns, two trumpets, timpani, strings
APPROXIMATE PERFORMANCE TIME
8 minutes
Richard Wagner was right to point out that
Beethoven might as well have written this
overture for Shakespeare’s tragedy Coriolanus
as for the play by Heinrich von Collin.
Unlike Wagner and most concertgoers
today, Beethoven knew both plays. He admired
and loved Shakespeare enormously.
But Collin was a friend of his, and his Coriolan
had enjoyed considerable popularity
in the years immediately following its
first performance in 1802. Beethoven was
inspired, either by friendship or theater,
to put something of the story into music.
Beethoven didn’t write his overture for a
theatrical performance; he was writing for
an audience that probably knew Collin’s
play but was not attending an actual production.
The first performance was given at
one of two concerts at the palace of Prince
Lobkowitz, where it was overshadowed by
the premieres of the more genial Fourth
Symphony and the Fourth Piano Concerto.
The overture and the play were united just
once in Beethoven’s lifetime, in April 1807,
at the Burgtheater in Vienna, apparently
without success.
The Coriolan Overture is terse and
strongly knit; it is as compact as anything
Beethoven had written at the time.
Beethoven finds enormous power in C minor,
his favorite minor key. (Sketches for
his Fifth Symphony, in the same key, were
already well advanced at the time.) As in
his Leonore Overture No.3, finished the year
before, he understood how to manipulate
the outlines of sonata form to accommodate
human drama. (Here, only the second
theme appears in the recapitulation.)
Wagner described Beethoven’s overture
as a musical counterpart to the turning
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
17
point in Shakespeare’s Coriolanus. Many
listeners have heard, in its tightly worded
argument, the conflict between Coriolanus,
the exiled leader who marches against his
own people, and his mother Volumnia, who
pleads for mercy until her son finally yields.
The main themes readily lend themselves
to this reading—the first fierce and determined,
the second earnest and imploring.
In the play, Coriolanus commits suicide;
Beethoven’s music disintegrates at the end.
Beethoven surely identified with Coriolanus’s
lonely pride, for it marked every day of
his own life. And, although his tough public
image and brilliantly triumphant music argue
otherwise, we now know that he, too,
fought recurring suicidal tendencies.
BEETHOVEN
Symphony No.8 in F Major,
Op.93
COMPOSED 1811-1812
FIRST PERFORMANCE February 17, 1814;
Vienna, Austria
INSTRUMENTATION two flutes, two
oboes, two clarinets, two bassoons, two
horns, two trumpets, timpani, strings
APPROXIMATE PERFORMANCE TIME
27 minutes
In a life characterized by difficulties—with
people, work, romance, and more—1812
may well have been the most difficult year
Beethoven ever had. In any case, the toll
18 CAMA'S 104 TH CONCERT SEASON
was great: in October, shortly after he finished
his Eighth Symphony, Beethoven
sank into a serious depression, finding creativity
a tiresome effort. Over the next two
years, he wrote only the two cello sonatas,
Op.102, and a handful of occasional pieces.
The main problem of 1812 involved
an unknown woman, who has come to be
known as the “Immortal Beloved.” Conjecture
about her identity is one of the favorite
games of Beethoven scholarship. (In his
watershed biography of Beethoven, Maynard
Solomon suggests Amalie Brentano,
who is the most plausible.) The evidence
is slight—essentially little more than the
astonishing letter Beethoven wrote on July
6 and 7, which was discovered among his
papers after his death. It’s Beethoven’s only
letter to a woman that uses the informal German
du, and, in its impassioned, unsparing
tone, it tells us much about the composer, if
nothing at all about the woman in question.
This wasn’t the last time Beethoven would
find misery and longing where he sought romance
and domestic harmony, but it’s the
most painful case we have record of, and
it certainly helped to convince him that he
would remain alone—and lonely—for life.
The diary he began in late 1812 finds him
despondent at the failure of his relationships
and more determined than ever in his
single-minded dedication to music. It also
admits thoughts of suicide.
Beethoven’s Eighth Symphony quickly
followed his Seventh, and, particularly in
light of its predecessors, it was misunderstood
from the start. When Beethoven was
reminded that the Eighth was less successful
than his Seventh, he is said to have replied:
“That’s because it is so much better.”
Contemporary audiences are seldom the
best judges of new music, but Beethoven’s
latest symphony must have seemed a letdown
at the time, for, after symphonies
of unexpected power and unprecedented
length, with movements that include thunder
and lightning and that lead directly from
one to another, the Eighth is a throwback to
an easier time. The novelty of this symphony,
however, is that it manages to do new
and unusual things without ever waving the
flag of controversy.
The first movement, for example, is of
modest dimensions, with a compact first
theme—its first two quick phrases like a
textbook definition of antecedent-consequent
(question-and-answer) structure. The
next subject comes upon us without warning—unless
two quiet measures of expectant
chords have tipped us off. The whole
moves like lightning, and when we hit the
recapitulation—amid thundering fff timpani,
with a new singing theme high above the
original tune, we can hardly believe we’re
already home. But just when Beethoven
seems about to wrap things up, he launches
into a giant epilogue that proves, in no
uncertain terms, just how far we’ve come
from the predictable, four-square proportions
of the works by Haydn and Mozart.
For early nineteenth-century audiences
who were just getting used to Beethoven’s
spacious slow movements, the second
movement of the Eighth was a puzzle, for
it’s neither slow nor long. It is also, through
no fault of its own, nothing like the second
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
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Montage Community Concert
Department of Music, UC Santa Barbara and Friends
Sunday February 26, 2023
4pm to 5pm
Marjorie Luke Theatre
Free and open to the public
Sponsor
Elaine F. Stepanek Foundation
20 CAMA'S 104 TH CONCERT SEASON
movement of Beethoven’s Seventh Symphony,
which had been an instant and tremendous
hit. The incredible nineteenth-century
practice of inserting that beloved slow
movement into the Eighth Symphony says
more about the tastes of earlier generations
than about any supposed deficiencies
in Beethoven’s Allegretto. The scherzo that
follows isn’t a scherzo at all, but a leisurely,
old-world minuet, giving us all the room and
relaxation we missed in the Allegretto. As
always, there’s method in Beethoven’s madness,
though it was often only the madness
that got noticed.
In the context of the composer’s personal
sorrows of 1812, it’s either astonishing
or perfectly predictable—depending on
your outlook on human nature—that the
finale is one of the funniest pieces of music
Beethoven ever wrote. The tone is jovial
from the start—a light, rambunctious
theme—and the first real joke comes at the
very end of that theme, when Beethoven
tosses out a loud unison C-sharp—an odd
exclamation point for an F-major sentence.
Many moments of wit follow: tiny whispers
that answer bold declarations; gaping
pauses when you can’t help but question
what will happen next; places where
Beethoven seems to enjoy tugging on the
rug beneath our feet. But he saves his best
punch line for last, and he has been working
up to it all along. When that inappropriate
C-sharp returns one last time—as it
was destined to do, given the incontestable
logic of Beethoven’s wildest schemes—it’s
no longer a stumbling block in an F-major
world, but a gateway to the unlikely key of
F-sharp minor. It takes some doing to pull
us back to terra firma: the trumpets begin
by defiantly hammering away on F-natural,
and Beethoven spends the last pages endlessly
turning somersaults through F major,
until memories of any other sounds are
banished for good.
ANATOLY LYADOV
Born May 11, 1855;
Saint Petersburg, Russia
Died August 28, 1914;
Polïnovka, Novgorod District, Russia
The Enchanted Lake, Op. 62
COMPOSED 1909
Anatoly Lyadov is best known for the music
he didn’t write. He regularly surfaces
in music histories not as the composer of
a handful of exquisitely crafted orchestral
pieces, including The Enchanted Lake, but
as the man who blew his chance to write
The Firebird, which of course turned out to
be a career-making hit for Igor Stravinsky.
According to the most familiar—though
unsubstantiated—version, Lyadov had only
just gotten around to buying his manuscript
paper when the first installment of the score
was due, forcing Sergei Diaghilev, who
was staging the ballet, to fire him from the
job. But in fact, Lyadov wasn’t even Diaghilev’s
first choice—the assignment
had originally gone to Nikolai Tcherepnin,
who withdrew—and he declined Diaghilev’s
offer from the start, for reasons we may
never adequately understand.
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
21
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Anatoly Lyadov
Early on, Lyadov had earned a reputation
as a slacker. He regularly cut classes at
the Saint Petersburg Conservatory—“he
simply could not be bothered,” said Rimsky-
Korsakov, who was his teacher and found
him “irresponsible.” Sergei Prokofiev, who
later studied with Lyadov and admired him
greatly, admitted in his memoirs that “Laziness
was [his] most remarkable feature.”
But from the start of his career, Lyadov also
had drawn attention for the boldness and
orchestral brilliance of his compositions.
As early as 1873—the time of his first songs,
eventually published as his Op.1—Mussorgsky
described him as “a new, unmistakable,
original, and Russian young talent.”
Igor Stravinsky, who owed his overnight
fame to Lyadov’s withdrawing, later
said he liked Lyadov’s music, but that he
“could never have written a long and noisy
ballet like The Firebird.” (“He was more relieved
than offended, I suspect, when I accepted
the commission,” Stravinsky said.)
Throughout his life, Stravinsky was quick
to defend Lyadov, claiming that he was a
charming and cultured man—“He always
carried books under his arm—Maeterlinck,
E.T.A. Hoffmann, Andersen: he liked tender,
fantastical things”—and, above all, that he
was “the most progressive of the musicians
of his generation.” Lyadov had championed
Stravinsky’s own early works before others
saw his genius, and once, in Stravinsky’s
presence, he defended Scriabin, whose music
had not yet found an audience. It’s hard
to know what Stravinsky really thought of
Lyadov as a composer; he wrote admiringly
of his sense of harmony and instrumental
color, but he also called him “short-winded”—that
is to say, in words that Stravinsky
could not bring himself to use, a master of
the miniature. (This was, after all, the era
of the Big Piece: Mahler’s Sixth, Seventh,
and Eighth symphonies; Strauss’s Sinfonia
domestica; and Schoenberg’s Pelleas und
Melisande all date from around the time Lyadov
wrote The Enchanted Lake.)
Lyadov’s catalog is slight: several
songs and piano pieces, a handful of choral
compositions, and less than a dozen small
works for orchestra. His most successful
compositions are the three brief descriptive
orchestral pieces based on Russian
fairy tales—Baba-Yaga, Kikimora, and The
Enchanted Lake—and they clearly demonstrate
his mastery, precisely in an art form
where Stravinsky made little headway.
L yadov called The Enchanted Lake a
fable-tableau. “How picturesque it is,” he
wrote to a friend, “how clear, the multitude
of stars hovering over the mysteries of the
deep… only nature—cold, malevolent, and
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
23
fantastic as a fairy tale.” Lyadov’s music
vividly suggests the serenity and delicate
shadings of the night scene. “One has
to feel the change of the colors, the chiaroscuro,
the incessantly changeable stillness
and seeming immobility.” It may not
be the music of a composer ideally suited
for The Firebird, but as a miniature landscape
of unusual intimacy and finesse, it is
close to perfection.
MODEST MUSSORGSKY
Born March 21, 1839; Karevo, Russia
Died March 28, 1881; St. Petersburg, Russia
Pictures from an Exhibition
(Orchestrated by Maurice Ravel)
COMPOSED for piano, 1874; orchestrated
by Maurice Ravel, summer 1922
When Victor Hartmann died at the age of
thirty-nine, little did he know that the pictures
he left behind—the legacy of an undistinguished
career as artist and architect—
would live on. The idea for an exhibition
of Hartmann’s work came from Vladimir
Stassov, the influential critic who organized
a show in Saint Petersburg in the spring of
1874. But it was Modest Mussorgsky, so
shocked at the unexpected death of his
dear friend, who set out to make something
of this loss. “Why should a dog, a horse,
a rat have life,” he is said to have asked,
paraphrasing King Lear, “and creatures like
Hartmann must die?”
Stassov’s memorial show gave
Mussorgsky the idea for a suite of piano
pieces that depicted the composer “roving
through the exhibition, now leisurely,
now briskly, in order to come closer to a
picture that had attracted his attention,
and at times sadly, thinking of his departed
friend.” Mussorgsky worked feverishly that
spring, and by June 22, 1874, Pictures from
an Exhibition was finished. Mussorgsky
may well have had an inflated impression
of Hartmann’s artistic importance (as
friends often do), but these Pictures guaranteed
Hartmann a place in history that
his art alone could never have achieved.
There’s no record of a public performance
of Pictures in Mussorgsky’s lifetime, and
the composer didn’t even play the work on
his extensive 1879 concert tour, perhaps
finding it too personal for the stage. It was
left to Rimsky-Korsakov, the musical executor
of Mussorgsky’s estate, to edit the
manuscript and bring Pictures to the light
of day.
The thought of orchestrating Pictures
evidently never occurred to Mussorgsky.
But it has intrigued musicians ever since
his death, and over the years several have
tried their hand at turning Mussorgsky’s
black-and-white pieces into full color. The
earliest was that of Rimsky-Korsakov’s
student, Mikhail Tushmalov, conducted
(and most likely improved) by the teacher
himself. (The Chicago Symphony’s first
performances, in 1920, were of this version.)
In 1915, Sir Henry Wood, an eminent
British conductor, produced a version that
was popular until Maurice Ravel unveiled
his orchestration in 1922.
Although Ravel worked from the
24 CAMA'S 104 TH CONCERT SEASON
Modest Mussorgsky
same Rimsky-Korsakov edition of Pictures
that Tushmalov and Wood used (he had
tried without success to find a copy of
Mussorgsky’s original, which wasn’t published
until 1930), his orchestral version far
outstrips theirs in the brilliance of its colors
and its sheer ingenuity. Ravel was already
sensitive to Mussorgsky’s style from his collaboration
with Igor Stravinsky on an edition
of Khovanshchina in 1913, and, since most
of his own orchestral works started out as
piano scores, the process of transcription
was second nature to him. Ravel remained
as faithful as possible to the original; only in
the final Great Gate of Kiev did he add a few
notes of his own to Mussorgsky’s.
The success of Ravel’s edition inspired
still further efforts, including one by Leopold
Stokowski that was popular for many
years (the Chicago Symphony played it as
recently as 1998). Mussorgsky’s Pictures
also has been rescored for rock band, brass
ensemble, acoustic guitar, massed accordions,
and even re-arranged for solo piano
by Vladimir Horowitz. (Essentially a piano
transcription of Ravel’s orchestration—a
translation of a translation, in other words—
Horowitz’s Pictures are far removed, stylistically,
from Mussorgsky’s). But Ravel’s orchestration
remains the best-known guide
to Mussorgsky’s picture collection.
Mussorgsky chose eleven of Hartmann’s
works for his set of piano pieces. He
owned the sketches of Samuel Goldenberg
and Schmuÿle, which were combined in one
“picture”; most, though not all, of the other
works were in Stassov’s exhibition. Some of
the original pictures have since disappeared.
(Of the four hundred Hartmann works
exhibited, less than a hundred have come
to light; only six of those in Mussorgsky’s
score can be identified with certainty.)
Mussorgsky referred to Pictures as
“an album series,” implying a random, ad
hoc collection of miniatures, but the score
is a coherently designed whole, organized
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
25
around a recurring theme and judiciously
paced to progress from short pieces to a
longer, majestic finale—creating a kind of
crescendo effect like that of Schumann’s
Carnaval. Mussorgsky had no use for the
conventional forms of the earlier classical
masters—“I am not against symphonies,”
he once wrote, “just symphonists, incorrigible
conservatives.” We don’t know when
Mussorgsky settled on the overall layout of
his picture series, but a letter he wrote to
Stassov suggests that he had worked on at
least the first five in order, and apparently
had the entire set in mind when he started.
Mussorgsky begins with a promenade,
which takes him into the gallery and
later accompanies him as he walks around
the room, reflecting a change in mood
from one picture to another. (Despite
his girth, Mussorgsky apparently was a
fast walker—the promenade is marked allegro,
rather than andante [Italian for “walking”]—and
Mussorgsky was precise in his
tempo markings.)
1. Gnomus. Hartmann’s drawing,
which has since been lost, was for
a Christmas tree ornament—“a kind
of nutcracker, a gnome into whose
mouth you put a nut to crack,” according
to Stassov’s commentary
in the catalog. Mussorgsky’s music,
with its awkward leaps, bizarre
harmonies, and slippery melodies,
suggests the gnome’s “droll movements”
and “savage shrieks.”
2. The Old Castle. Two drawings of
medieval castles are listed in the
catalog, both sketched while Hartmann
was in France, just before he
met Mussorgsky. The music gives
song to the troubadour standing in
front of the castle. Mussorgsky’s
melody, which Ravel memorably
gives to the alto saxophone, is
clearly indebted to Russian folk
music, despite the provenance of
the castle.
3. Tuileries. Hartmann lived in Paris
long enough to get to know the famous
park with its squabbling children
and their nurses.
4. Bydło. Stassov describes a Polish
wagon (“bydło” is Polish for
cattle) drawn by oxen. Although
Mussorgsky wanted the piece to
begin fortissimo—“right between
the eyes,” as he told Stassov—
Rimsky-Korsakov switched to a
pianissimo opening followed by a
crescendo to create the illusion of
the approaching cart and the tread
of hooves.
5. Ballet of the Chicks in their Shells.
Hartmann designed costumes for
a ballet, Trilbi, in 1871. The music
depicts a scene where “a group of
little boys and girls, pupils of the
Theatre School, dressed as canaries,
scampered on the stage. Some
of the little birds were wearing over
their dresses big eggshells resembling
breastplates.”
6. “Samuel” Goldenberg and “Schmuÿle.”
Mussorgsky owned two drawings
entitled “A Rich Jew in a Fur Hat”
26 CAMA'S 104 TH CONCERT SEASON
and “A Poor Jew,” to which he gave
proper names. Hartmann, whose
wife was Polish, visited Sandomierz,
in southern Poland, in 1868;
there he painted scenes and characters
in the Jewish ghetto, including
these two men, as well as Bydło.
7. The Marketplace at Limoges. Hartmann
did more than a hundred
and fifty watercolors of Limoges
in 1866, including many genre pictures.
In the margin of his score,
Mussorgsky brings the scene to life:
“Great news! M. de Puissangeout
has just recovered his cow… Mme
de Remboursac has just acquired
a beautiful new set of teeth, while
M. de Pantaleon’s nose, which is
in his way, is as much as ever the
color of a peony.”
8. Catacombs: Sepulcrum romanum.
Hartmann, a friend, and a guide
with a lamp explore underground
Paris; to their right in Hartmann’s
watercolor is a pile of skulls. ⫻
Promenade: Con [sic] mortuis in
lingua mortua. At the end of Catacombs,
Mussorgsky penciled in
his manuscript: “Con [sic] mortuis
in lingua mortua” (With the dead in
a dead language), signaling the
start of this mournful rendition of
the promenade.
9. The Hut on Hen’s Legs (Baba-Yaga).
Hartmann sketched a clock of
bronze and enamel in the shape
of the hut of the witch Baba-Yaga.
Mussorgsky concentrates not on
the clock, but on the child-eating
Baba-Yaga herself, who, according
to Russian folk literature, lived
deep in the woods in a hut on hen’s
legs, which allowed her to rotate to
confront each approaching victim.
(Incidentally, Stassov’s first impression
of Hartmann was of him
dressed as Baba-Yaga at a masked
ball in 1861.)
10. The Great Gate of Kiev. Hartmann
entered this design in a competition
for a gateway to Kiev that
was ultimately called off for lack
of funds. Hartmann modeled his
gate on the traditional headdress
of Russian women, with the belfry
shaped like the helmet of Slavonic
warriors. Mussorgsky’s piece, with
its magnificent climaxes and pealing
bells, finds its ultimate realization
in Ravel’s orchestration.
A word about our title. Pictures at an Exhibition
has long been the traditional English
title for this score, but Pictures from an
Exhibition is a more accurate translation
of Mussorgsky’s original title in Russian,
Картинки с выставки. Grove Music, the
industry standard, also now uses Pictures
from an Exhibition as the preferred title.
Phillip Huscher is the program annotator for
the Chicago Symphony Orchestra.
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
27
CHICAGO SYMPHONY ORCHESTRA
RICCARDO MUTI, Zell Music Director
Jessie Montgomery, Mead Composer-in-Residence
Hilary Hahn, Artist-in-Residence
VIOLINS
Robert Chen Concertmaster
The Louis C. Sudler Chair,
endowed by an anonymous
benefactor
Stephanie Jeong
Associate Concertmaster
The Cathy and Bill Osborn Chair
David Taylor
Assistant Concertmaster *
The Ling Z. and Michael C.
Markovitz Chair
Yuan-Qing Yu
Assistant Concertmaster *
So Young Bae
Cornelius Chiu
Alison Dalton ‡
Gina DiBello ‡
Kozue Funakoshi
Russell Hershow
Qing Hou
Matous Michal
Simon Michal
Blair Milton ‡
Sando Shia
Susan Synnestvedt
Rong-Yan Tang §
Baird Dodge Principal
Lei Hou
Ni Mei
Hermine Gagné
Rachel Goldstein
Mihaela Ionescu
Sylvia Kim Kilcullen
Melanie Kupchynsky
Wendy Koons Meir
Aiko Noda ‡
Joyce Noh
Nancy Park
Ronald Satkiewicz
Florence Schwartz
VIOLAS
Li-Kuo Chang
Assistant Principal §
Catherine Brubaker
Beatrice Chen
Youming Chen
Sunghee Choi ‡
Wei-Ting Kuo
Danny Lai
Weijing Michal ‡
Diane Mues
Lawrence Neuman
Max Raimi
CELLOS
John Sharp Principal
The Eloise W. Martin Chair
Kenneth Olsen
Assistant Principal
The Adele Gidwitz Chair
Karen Basrak
The Joseph A. and Cecile
Renaud Gorno Chair
Loren Brown
Richard Hirschl
Daniel Katz
Katinka Kleijn
David Sanders
Gary Stucka
Brant Taylor
BASSES
Alexander Hanna Principal
The David and Mary Winton
Green Principal Bass Chair
Daniel Armstrong
Daniel Carson
Robert Kassinger
Mark Kraemer
Stephen Lester
Bradley Opland
HARP
Lynne Turner
FLUTES
Stefán Ragnar Höskuldsson
Principal
The Erika and Dietrich M. Gross
Principal Flute Chair
Yevgeny Faniuk
Assistant Principal
Emma Gerstein ‡
Jennifer Gunn
PICCOLO
Jennifer Gunn
The Dora and John Aalbregtse
Piccolo Chair
OBOES
William Welter Principal
The Nancy and Larry Fuller
Principal Oboe Chair
Lora Schaefer
Scott Hostetler
ENGLISH HORN
Scott Hostetler
CLARINETS
Stephen Williamson Principal
John Bruce Yeh
Assistant Principal
Gregory Smith
E-FLAT CLARINET
John Bruce Yeh
BASSOONS
Keith Buncke Principal
William Buchman
Assistant Principal
Miles Maner
28 CAMA'S 104 TH CONCERT SEASON
CONTRABASSOON
Miles Maner
HORNS
David Cooper Principal
Daniel Gingrich
Associate Principal
James Smelser
David Griffin
Oto Carrillo
Susanna Gaunt
TRUMPETS
Esteban Batallán Principal
The Adolph Herseth Principal
Trumpet Chair, endowed by
an anonymous benefactor
Mark Ridenour
Assistant Principal
John Hagstrom
The Bleck Family Chair
Tage Larsen
TROMBONES
Jay Friedman Principal
The Lisa and Paul Wiggin
Principal Trombone Chair
Michael Mulcahy
Charles Vernon
BASS TROMBONE
Charles Vernon
TUBA
Gene Pokorny Principal
The Arnold Jacobs Principal
Tuba Chair, endowed by
Christine Querfeld
TIMPANI
David Herbert Principal
The Clinton Family Fund Chair
Vadim Karpinos
Assistant Principal
PERCUSSION
Cynthia Yeh Principal
Patricia Dash
Vadim Karpinos
James Ross
LIBRARIANS
Peter Conover Principal
Carole Keller
Mark Swanson
CSO FELLOW
Gabriela Lara violin
ORCHESTRA
PERSONNEL
John Deverman
Director
Anne MacQuarrie
Manager, CSO Auditions
and Orchestra Personnel
STAGE TECHNICIANS
Christopher Lewis
Stage Manager
Blair Carlson
Paul Christopher
Ryan Hartge
Peter Landry
Joshua Mondie
Todd Snick
EXTRA MUSICIANS
Bernardo Arias violin
Grace Browning harp
Ying Chai violin
Roger Chase viola
Ian Ding percussion
Pauli Ewing violin
Theodore Gabrielides bass
Kiju Joh violin
Kelly Karamanov keyboard
Min Ha Kim flute
Isaac Polinsky bass
James Romain saxophone
Di Shi viola
Judy Stone cello
Jennifer Strom viola
Tamae Clara Takarabe viola
Pavel Vinnitsky clarinet
* Assistant concertmasters are listed by seniority.
‡ On leave
§ On sabbatical
The Paul Hindemith Principal Viola, Gilchrist Foundation, and Louise H. Benton Wagner chairs currently are unoccupied.
The Chicago Symphony Orchestra string sections utilize revolving seating. Players behind the first desk (first two desks
in the violins) change seats systematically every two weeks and are listed alphabetically. Section percussionists also are
listed alphabetically.
The CSO's music director position is endowed in perpetuity by a generous gift from the Zell Family Foundation
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
29
History
Academy of Ancient Music
Academy of St Martin
in the Fields
Aguilar Lute Quartet of Madrid
American Ballet Theatre
American Youth Symphony
Anonymous 4
Australian Chamber Orchestra
Bahia Orchestra Project
(Núcleos Estaduais de Orquestras
Juvenis e Infantis da Bahia)
Bakhor State Folk Dance
Ensemble from Uzbekistan SSR
Bali Java Dancers
Ballet Russe de Monte Carlo
Barbour Quartet
Barrère Little Symphony
Bavarian Symphony Orchestra
of Munich
BBC Philharmonic
BBC Symphony Orchestra
Beethoven String Quartet
Belcea Quartet
Belgian Piano String Quartet
Berlin Philharmonic Orchestra
Berlin Radio Symphony Orchestra
Bolshoi Symphony Orchestra
Boston Symphony Orchestra
Brentano Quartet
Brodetsky Chamber
Music Ensemble
Bruckner Orchestra Linz
Budapest Festival Orchestra
California Theatre Orchestra
Camerata Musica-Berlin
Le Concert des Nations
La Capella Reial de Catalunya
Carnegie Hall Jazz Band
Chicago Symphony Orchestra
China Philharmonic Orchestra
Choir of New College Oxford
Chorus of School Children
Cincinnati Symphony Orchestra
City Lights Band
City of Birmingham
Symphony Orchestra
Clerbois Little Symphony
Cleveland Orchestra
Col. W. de Basil's Ballets Russes
de Monte Carlo
Community Arts
Association Chorus
Community Arts Choral Society
Community Arts Madrigal Octet
Community Arts Orchestra
Community Arts String Orchestra
Community Orchestra of
Santa Barbara
Concertgebouw Orchestra of
Amsterdam
Contiguglia Brothers,
Duo-Pianists
Czech Philharmonic Orchestra
Dallas Symphony Orchestra
Danish National
Symphony Orchestra
Detroit Symphony Orchestra
Dresden Philharmonic Orchestra
Dresden Staatskapelle
(Sächsische Staatskapelle Dresden)
English Baroque Soloists
English Chamber Orchestra
The English Concert
Eroica Trio
Estonian National Symphony
Orchestra
Flonzaley Quartet
Gewandhaus Orchestra
of Leipzig
Gothenburg
Symphony Orchestra
Hancock Ensemble
Hart House String Quartet
Helsinki Philharmonic
Hespèrion XXI
Hong Kong
Philharmonic Orchestra
Houston Symphony Orchestra
Hungarian National
Philharmonic Orchestra
Jerusalem Symphony Orchestra
Jooss European Ballet
Juilliard String Quartet
Junior Orchestra
(Community Arts Association)
Kafkaz Dance Ensemble
Kalichstein-Laredo-Robinson Trio
Kedroff Quartet
Kirov Orchestra of the Mariinsky
Theatre/Mariinsky Orchestra
Kolisch String Quartet
Krasnayarsk Dance Company
of Siberia
Kremerata Baltica
Lietuva Folk Song and Dance
Ensemble of Lithuania
London Chamber Orchestra
London Philharmonic Orchestra
London String Quartet
London Symphony Orchestra
Los Angeles Chamber Orchestra
Los Angeles Philharmonic
Chamber Orchestra
Los Angeles Philharmonic
Orchestra (LA Phil)
Los Angeles Symphony Orchestra
Martha Graham and Company
Maurice Faulkner Brass Quintet
(Department of Music,
UC Santa Barbara)
Mazowsze Dance Company
Menuhin Festival Orchestra
of London
Minnesota Orchestra
30 CAMA'S 104 TH CONCERT SEASON
Orchestras & Ensembles (1920–2022)
Montreal Symphony Orchestra
(Orchestre symphonique
de Montréal)
Moscow Philharmonic Orchestra
Moscow State Radio
Symphony Orchestra
Moscow Virtuosi
National Philharmonic of Russia
National Symphony Orchestra
NDR Symphony Orchestra
of Hamburg
Negaunee Conducting Program
Call-Back Auditions, with
Philharmonia Orchestra
New York Philharmonic
Opera Santa Barbara Chorus
Orchester der
Beethovenhalle Bonn
L'Orchestre du Capitole
de Toulouse
Orchestra of the
Age of Enlightenment
Orchestra of the
Eighteenth Century
Orchestra of the Royal Opera
House, Covent Garden
Orchestre de la Suisse Romande
Orchestre de Paris
Orchestre National de France
Orchestre Philharmonique de
Radio France
Orpheus Chamber Orchestra
Orquesta Nacional de España
Orquesta Sinfónica del Estado
de México (State Symphony
of Mexico)
Osaka Philharmonic Orchestra
Oslo Philharmonic
Pasquier Trio
Performing Arts Scholarship
Foundation Competition Finals
Persinger String Quartet
Philadelphia Orchestra
Philharmonia Baroque Orchestra
Philharmonia Hungarica Orchestra
Philharmonia of the Nations
Philharmonia Orchestra
Pittsburgh Symphony Orchestra
Polish Chamber Orchestra
Polish National Radio
Symphony Orchestra
Prague Chamber Orchestra
Prague Symphony
Pro Arte String Quartet
Promises, Promises (Musical)
Radio Symphony Orchestra
of Berlin
Roger Wagner Chorale
Roth String Quartet
Rotterdam
Philharmonic Orchestra
Royal Philharmonic Orchestra
Royal Scottish National Orchestra
Russian National Orchestra
Russian Revue
Saint Paul Chamber Orchestra
Salzedo Harp Ensemble
San Francisco Ballet
San Francisco Symphony
San Marcos High School
Madrigal Singers
Santa Barbara Band
Santa Barbara Choral Club
Santa Barbara Symphony
Brass Quintet
Schleswig-Holstein
Festival Orchestra
School Children's Choruses
(Community Arts Association)
Seattle Symphony
Seoul Philharmonic Orchestra
Sérgio & Odair Assad,
Duo-Guitarists
Shanghai Symphony Orchestra
SING! Program (Music Academy
of the West)
Sofia Philharmonic Orchestra
I Solisti di Zagreb
Sonos5winds (Westmont Music)
State Symphonic Kapelle of
Moscow (Soviet Philharmonic)
St. Lawrence String Quartet
St. Louis Symphony Orchestra
St. Petersburg Philharmonic
(Leningrad Philharmonic)
State Symphony Orchestra
of Russia (State Symphony
Orchestra of the U.S.S.R.)
Symphony Orchestra of the
Florence Festival
Tafelmusik Baroque Orchestra
The Tallis Scholars
Tetzlaff Quartet
Tetzlaff-Vogt Duo
Tokyo Symphony Orchestra
Toronto Symphony
UCSB Flute Ensemble
Utah Symphony Orchestra
Van der Voort Ensemble
Vancouver Symphony Orchestra
Venice Baroque Orchestra
Vermeer Quartet
Vienna Symphony Orchestra
Les Violons du Roy
Warsaw Philharmonic Orchestra
WDR Symphony
Orchestra, Cologne
Westmont String Trio
Woodwind Quintet of
San Francisco
World's Fair Choirs
Yunost Ukrainian Dance Ensemble
ZAWA!
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
31
History
Kazuyoshi Akiyama
Nikolai Alexeev
Petr Altrichter
Vladimir Ashkenazy
David Atherton
Avi Avital
Sir John Barbirolli
Daniel Barenboim
Alan Barker
John Barnett
George Barrère
Arturo Basile
Enrique Bátiz
Eduard van Beinum
Joshua Bell
Jiří Bělohlávek
André Bernard
Leonard Bernstein
Arthur Bliss
Herbert Blomstedt
Karl Böhm
Paolo Bortolameolli
Leon Botstein
Julian Brodetsky
Frans Brüggen
Anshel Brusilow
Semyon Bychkov
Miltiades Caridis
Ricardo Castro
Riccardo Chailly
Elim Chan
Carlos Chávez
Lew Christensen
Myung-Whun Chung
Elisa Citterio
Georges (Roger) Clerbois
Léon Clerbois
Anita Cochran
Frederick A. “Fritz” Cohen
Ross Collins
Dennis Russell Davies
Sir Peter Maxwell Davies
Andrew Davis
Sir Colin Davis
Sir Andrew Davis
Christoph von Dohnányi
Antal Doráti
Sir Edward Downes
Gustavo Dudamel
Charles Dutoit
Richard Egarr
Sixten Ehrling
Henry Eichheim
Akira Endo
Philippe Entremont
Mark Ermler
Christoph Eschenbach
Jon Faddis
Jill Felber
Peter Feranec
János Ferencsik
Arthur Fiedler
Iván Fischer
Frank Fisher
Anatol Fistoulari
Angeleita Floyd
Lukas Foss
Lawrence Foster
Justus Frantz
Rafael Frühbeck de Burgos
Sir John Eliot Gardiner
Daniele Gatti
Valery Gergiev
Sir Alexander Gibson
Alan Gilbert
Carlo Maria Giulini
Nikolai Gogotzky
Walter Goldschmidt
Igor Golovchin
Jan Grabia
Hans Graf
Mirga Gražinytė-Tyla
Harold Gregson
Steven Gross
Bernard Haitink
Daniel Harding
Sidney Harth
Walter Hendl
Adam Hickox
Christopher Hogwood
Christine Hollinger
Louis Horst
Jakub Hrůša
Signor Indreani
Konstantin Iliev
José Iturbi
Mariss Jansons
Neeme Järvi
Paavo Järvi
Eugen Jochum
Armin Jordan
Vladimir Jurowski
Jeffrey Kahane
Okku Kamu
Herbert von Karajan
Jacek Kaspszyk
Kevin Kelly
Eri Klas
Otto Klemperer
Paul Kletzki
Zoltán Kocsis
Kazimierz Kord
Gidon Kremer
Josef Krips
Karl Krueger
Rafael Kubelik
Efrem Kurtz
32 CAMA'S 104 TH CONCERT SEASON
Conductors & Directors (1920–2022)
Jeanne Lamon
John Lanchbery
Erich Leinsdorf
Daniel Lewis
Henry Lewis
Jesús López-Cobos
Fabio Luisi
Lorin Maazel
Sir Charles Mackerras
Jerzy Maksymiuk
Sir Neville Marriner
Jean Martinon
Kurt Masur
Bobby McFerrin
Nicholas McGegan
Zubin Mehta
Yehudi Menuhin
Dimitri Mitropoulos
Pierre Monteux
Ludovic Morlot
Charles Munch
Earl Bernard Murray
Riccardo Muti
Kent Nagano
Daniel Newman-Lessler
Jonathan Nott
Eugene Ormandy
Eiji Oue
Seiji Ozawa
Murray Perahia
Vasily Petrenko
Peter Phillips
Ryszard Pierzchala
Trevor Pinnock
Michel Plasson
Mikhail Pletnev
Valery Polyansky
Georges Prêtre
André Previn
Kostis Protopapas
Robert Quinney
Sir Simon Rattle
Lyle R. Ring
David Robertson
Mendi Rodan
Artur Rodziński
Walter Henry Rothwell
Gennady Rozhdestvensky
Victor de Sabata
Esa-Pekka Salonen
Carlos Salzedo
Gerhard Samuel
Sir Malcolm Sargent
Jordi Savall
Wolfgang Sawallisch
Thomas Schippers
Hans Schmidt-Isserstedt
Georg Schnéevoigt
Gerard Schwarz
Hans Schwieger
Joseph Silverstein
Calvin Simmons
Giuseppe Sinopoli
Stanislaw Skrowaczewski
Leonard Slatkin
Václav Smetáček
Sir Georg Solti
Ignat Solzhenitsyn
Thomas Søndergård
Vladimir Spivakov
William Steinberg
Leopold Stokowski
Igor Stravinsky
Walter Susskind
Leoš Svárovský
Yevgeny Svetlanov
Hans Swarowsky
George Szell
Yuri Temirkanov
Carolyn Teraoka-Brady
Michael Tilson Thomas
Richard Tognetti
Bramwell Tovey
Molly Turner
Antoni (Anthony) Van der Voort
André Vandernoot
Osmo Vänskä
Emmanuel Villaume
Hans Vonk
Edo de Waart
Julian Wachner
Roger Wagner
Alfred Wallenstein
Bruno Walter
Christopher Warren-Green
Roderick White
Antoni Wit
Bohdan Wodiczko
Long Yu
Christian Zacharias
Carlo Zecchi
Pinchas Zukerman
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
33
History
Timothy Accurso, piano
Isidor Achron, piano
Joaquín Achúcarro, piano
Harry Adaskin, violin
Thomas Adès, piano
Katrina Agate, cello
Esequiel Aguilar, laudín
Guillermo Aguilar, tenor
Pepe Aguilar, laudete
Elisa Aguilar, laud (lute)
Paco Aguilar, laudón
Pierre-Laurent Aimard, piano
Solon Alberti, piano
Elizabeth Alexander, piano
Dmitri Alexeev, piano
Madame Louise Alvar, voice
John Amadio, flute
Misha Amory, viola
Marian Anderson, contralto
Claudia Anderson, flute
and alto flute
Piotr Anderszewski, piano
Leif Ove Andsnes, piano
Jeno Antal, violin
Valentina (Yushny-)Arenzwari,
dance
Patricia Jennings Armstrong,
soprano
Claudio Arrau, piano
Litha Ashforth, soprano
Shmuel Ashkenasi, violin
Frederick Ashton, dance
Odair Assad, guitar
Sérgio Assad, guitar
Victor Asunción, piano
Herbert Ausman, trombones
Florence Austral, soprano
Avi Avital, mandolin
Emanuel Ax, piano
Joy Babcock, violin
Gina Bachauer, piano
Badev. Georgi, violin
Zlatko Baloković, violin
Artur Balsam, piano
Giuseppe Bamboschek, piano
Lyell Barbour, piano
Helen Manchee Barnett, piano
and soprano
Howard Barr, piano
George Barrère, flute
Manuel Barrueco, guitar
Cecilia Bartoli, mezzo-soprano
Sara Bashore, violin
Werner Bass, piano
Antonio Bassi, violin
Margaret Batjer, violin
Kathleen Battle, soprano
Wolf-Dieter Batzdorf, violin
Harold Bauer, piano
Jean-Efflam Bavouzet, piano
Emanuel Bay, piano
Isabel Bayrakdarian, soprano
Thelma Beach, violin
Mebane Beasley, bass
Rachel Beckett, recorder
Corina Belcea, violin
Joshua Bell, violin
Nicola Benedetti, violin
and director
André Benoist, piano
Boris Berezovsky, piano
André Bernard, trumpet
Leonard Bernstein, piano
Molly Bernstein, piano
Deborah Bertling, soprano
Adolfo Betti, violin
Pavlo Beznosiuk, violin piccolo
Edwin Biltcliffe, piano
Dorothy Bird, dance
Jonathan Biss, piano
David Blackadder, trumpet
Geraldine Blackburn, voice
Dixie Blackstone, violin
Milton Blackstone, viola
Steven Blier, piano
Howard Bliss, cello
Arthur Bliss, piano
Michele Bloch, clarinet
Roger Bobo, tuba
Nina Bodnar, violin
Jorge Bolet, piano
Elisso Bolkvadze, piano
Danny Bond, bassoon
Alexander Borisoff, cello
Nathalie Boshko, violin
Ian Bostridge, tenor
Shibley Boyes, piano
Lubomír Brabec, guitar
Alexander Brailowsky, piano
Jens Harald Bratlie, piano
David Breidenthal, bassoon
Alfred Brendel, piano
Carter Brey, cello
Arthur Briegleb, horns
Anthony Briglio, violin
Patricia Brinton, soprano
Leila Barlow Briscoe, soprano
Albert Broad, tenor
Dorothy Innis Bromfield, soprano
Yefim Bronfman, piano
Ilya Bronson, cello
Lawrence Brown, piano
John Browning, piano
Frank de Bruine, oboe
34 CAMA'S 104 TH CONCERT SEASON
Soloists & Recitalists (1920–2022)
(Page 1 of 4)
Theo Bruins, piano
Anshel Brusilow, violin
Rudolf Buchbinder, piano
Fernando Bujones, dance
Leslie Cain, piano
Christine Cairns, mezzo-soprano
Alice Brandon Caldwell, piano
May Hogan Cambern, harp
Mary Cameron, piano
Serena Canin, violin
Renaud Capuçon, violin
Gautier Capuçon, cello
Grazia Carbone, contralto
Kathryn Carlson, cello
Sadie Carlston, violin
Giuliano Carmignola, violin
Zita Carno, organ
Molly Carr, viola
Herbert Carrick, piano
Margaret Huston Carrington,
soprano
Ardis Carter, contralto
Robert Casadesus, piano
Pablo Casals, cello
Gaspar Cassadó, cello
John Cerminaro, horn
Mario Chamlee, tenor
Roger Chase, viola
Chee-Yun, violin
Edith Chen, piano
Xiaoduo Chen, soprano
Ching-Yun Chen, piano
Silvia Chiesa, cello
Seong-Jin Cho, piano
Krzysztof Chorzelski, viola
Dorothea Chryst, soprano
Kyung-Wha Chung, violin
Myung-Wha Chung, cello
Myung-Whun Chung, piano
Sergio Ciomei, piano
McAllister Clarke, bass
Beth Clerbois, violin and viola
Caro Clerbois, viola
Dyna Clerbois, mezzo-soprano
Georges (Roger) Clerbois, piano
Léon Clerbois, voice
Van Cliburn, piano
Eben Coe, baritone
F. A. Cohen, piano
Oscar Colcaire, tenor
Community Arts Madrigal Octet
John Contiguglia, piano
Richard Contiguglia, piano
Anita Cook, piano
Blake Cooper, tuba
Ronald Copes, violin
Christopher Costanza, cello
Robert Cowart, english horn
Henry Cowell, piano
Richard Crooks, tenor
Paul Crossley, piano
Ruth Cunningham, voice
Gretl Curth, percussion
K. Dadev, doire
Owen Dalby, violin
Dobrinin Damansky, dance
E. Harold Dana, baritone
David Daniels, countertenor
Iwan d'Archambeau, cello
Hyman Davidson, viola
Julie Davies, soprano
Arax Davtian, soprano
Shirley Day, soprano
William Dazeley, baritone
Henri De Busscher, oboe
Rohan De Silva, piano
Kati Debretzeni, violin
James Decker, horns
Henri Deering, piano
Robert deMaine, cello
Steven DeMuth, baritone
I. K. Denissoff, tenor
Carrie Dennis, viola
Michelle DeYoung,
mezzo-soprano
Andrea Di Maggio, flute
Neil Di Maggio, piano
Misha Dichter, piano
Glenn Dicterow, violin
Andrea DiMaggio, flute
and piccolo
Robert DiVall, trumpet
Jaroff Dobrinin, dance
Lester Donohue, piano
Albert van Doorn, cello
Celius Dougherty, piano
George Drexler, flute
Estelle Heartt Dreyfus, contralto
Constance Dreyfus, flute
Stanley Drucker, clarinet
Wenwen Du, piano
Suzanne Duffy, flute and piccolo
Katherine Duke, soprano
Ethylemae Dunton, soprano
Samuel Dushkin, violin
L. Dzbak, dance
G. Dzhuraeva, dance
Ku Ebbinge, oboe
Jared Eben, piano
José Echaniz, piano
Nelson Eddy, baritone
Richard Egarr, harpsichord
James Ehnes, violin
Susanne Ehrhardt,
soprano blockflute
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
35
History
Robert Ehrlich, recorder
Henry Eichheim, violin
Ethel Roe Eichheim, piano
Henny Ekstrom, contralto
Philippe Entremont, piano
M. Ergasteva, dance
Robert Clipper Erickson, piano
Eroica Trio
Philip Evans, piano
Wilbur Evans, baritone
Charles Warwick Evans, cello
Jon Faddis, trumpet
Naghmeh Farahmand,
percussion
Trey Farrell, oboe
Roberta Endicott Faxon, soprano
G. Fazyldzhanova, dance
Jill Felber, flute and alto flute
Lydia Ferguson, mezzo-soprano
Émile Férir, viola
François Fernández, violin
Walter Ferner, cello
Christian Ferras, violin
Mark Fewer, violin
Philip Ficsor, violin
Montserrat Figueras, soprano,
voice, and cithara
Nathan Firestone, viola
Rudolf Firkusny, piano
Kirsten Flagstad, soprano
Renée Fleming, soprano
Ingrid Fliter, piano
Charles Foidart, viola
Michel Fokine, choreography,
scenes, and dance
Manuel Forcano, narrator
Louis Ford, violin
Amanda Forsyth, cello
Chris Fossek, guitar
Samson François, piano
Pamela Frank, violin
Justus Frantz, piano
Volerie Salathe Freeman, soprano
Nelson Freire, piano
Adolphe Frezin, cello
Povla Frijsh, soprano
David Frisina, violin
Christian Funke, violin
Rosemary Furniss, violin
Ossip Gabrilowitsch, piano
Anthony Garcia, percussion
Chester Garden, piano
Will Garroway, piano
Jacques Gasselin, violin
Bert Gassman, oboe
Lisa Gasteen, soprano
Édouard Gendron, piano
Marsha Genensky, voice
Alban Gerhardt, cello
Kirill Gerstein, piano
Brenna Giacchino, string bass
Dusolina Giannini, soprano
Donna Gibbs, soprano
Terra Giddens, mezzo-soprano
Walter Gieseking, piano
J. J. Gilbert, flute
Anne Diener Giles, flute
Albert Gillette, baritone
Désiré Gilson, flute
Bronislaw Gimpel, violin
Matthias Goerne, baritone
Miwa Gofuku, piano
Mona Golabek, piano
Raphael Gomez, dance
Richard Goode, piano
Julia Gooding, soprano
Mrs. Clay Goodloe, soprano
Alan Goodman, bassoon
Emilio de Gogorza, baritone
Gary Graffman, piano
Martha Graham, dance
Susan Graham, mezzo-soprano
Donald Green, trumpets
Cynthia Gregory, dance
Harold Gregson, piano
Myrtle Gregson, mezzo-soprano
Ursula Greville, soprano
Oscar Griffiths, baritone
Hélène Grimaud, piano
Benjamin Grosvenor, piano
John Guarnieri, tenor
Janet Guggenheim, piano
Qiele (Cello) Guo, cello
Michael Gurevich, violin
Gulia Gurevich, violin
Mark Gutierrez, piano
Laura Hackstein, violin
Augustin Hadelich, violin
Noelle Hadsall, piano
Hilary Hahn, violin
Matt Haimovitz, cello
Laurent Halleux, violin
Ella Rose Halloran, piano
Boris Hambourg, cello
Zachary Hamilton, viola
Pierre Hamon, ney, gaita,
and flutes
Håkan Hardenberger, trumpet
Raymond Harmon, tenor
Lynn Harrell, cello
Lucas Harris, lute, theorbo,
and guitar
Sidney Harth, violin
William Hartshorn, narrator
36 CAMA'S 104 TH CONCERT SEASON
Soloists & Recitalists (1920–2022)
(Page 2 of 4)
Hanns Hastings,
musical accompaniment
Erick Hawkins, dance
Haydn Trio
Roland Hayes, tenor
Sam Haywood, piano
Hein Heckroth, costumes
Desmond Heeley, costumes
Jascha Heifetz, violin
Benar Heifetz, cello
Eero Heinonen, piano
Walter Helfer, composer
and piano
Susan Hellauer, voice
Frans Helmerson, cello
Nino Herschel, piano
Manfred Herzog, cello
Dame Myra Hess, piano
Adriane Hill, bass flute
Raymond C. Hill, bass
Takashi Hironaka, piano
Jan Hlinka, viola
Lester Hodges, piano
Owen W. Hoffman, english horn
Ludwig Hoffmann, piano
Josef Hofmann, piano
Hartmut Höll, piano
Carroll Hollister, piano
Jacques Holtman, violin
Boyde Hood, trumpets
Florence Hooper, violin
Paul Horn, flute
Marilyn Horne, soprano
Jacqueline Horner-Kwiatek, voice
Vladimir Horowitz, piano
Louis Horst, piano
Russell Horton, tenor
Hans Horwitz, piano
Ho-Te-Ma-We, mezzo-soprano
Sir Stephen Hough, piano
Laura Lou Houghton, recitation
Peter Howard, cello
Judith Howarth, soprano
Annis Stockton Howell, voice
Hradil Antonin, concertmaster
Bronislaw Huberman, violin
Mrs. Lafayette M. Hughes,
mezzo-soprano
J. F. Hurlbut, tenor
Brian Hwang, violin
Alex Iles, trombone
Ish-Te-Opi, baritone
Eugene Istomin, piano
José Iturbi, piano
Mario Ivelja, string bass
Maria Ivogün, soprano
Paul Jacobs, piano
Sascha Jacobsen, violin
Tasso Janopoulo, piano
Gundula Janowitz, soprano
J. Jaroff, dance
Resnik Javorsky, dance
Marc Johnson, cello
Irma Leigh Johnstone, violin
Joela Jones, piano
Gwyn Hughes Jones, tenor
Warren Jones, piano
Leila Josefowicz, violin
Youjin Jung, violin
Jeffrey Kahane, harpsichord
and piano
Joseph Kalichstein, piano
Gilbert Kalish, piano
Chun-Wei Kang, piano
Sheku Kanneh-Mason, cello
Harry Kaplun, cello
Grace Kaplun, piano
T. F. Kasakoff, tenor
Alfred Kastner, harp
Martin Katz, piano
Leonidas Kavakos, violin
Lüwa Ke, soprano
N. N. Kedroff, baritone
C. N. Kedroff, bass
Hannes Keller, piano
Wilhelm Kempff, piano
Nigel Kennedy, violin
Olga Kern, piano
Muriel Kerr, piano
Sergey Khachatryan, violin
Felix Khuner, violin
Hans Kindler, cello
Albert King, piano
Natasha Kislenko, piano
Otto Klemperer, piano
Jennifer Kloetzel, cello
Marjorie Knapp, violin
Edith Knox, piano
Paul Kochanski, violin
Zoltán Kocsis, piano
Varoujan Kodjian, violin
Robert Koenig, piano
Neltha Koke, mezzo-soprano
Rudolf Kolisch, violin
Madison Kolkow, flute
Konrad Kono, piano
Nina Koshetz, soprano
P. Kosmowskaja, dance
Manfredo Kraemer, violin
Boris Krajný, piano
Gidon Kremer, violin
Géza de Kresz, violin
Joel Krosnick, cello
Jenna Ku, flute
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
37
History
Jan Kubelik, violin
Ernest Kubitschek, bassoon
Susan Kuehn, mezzo-soprano
Elisabeth Kufferath, violin
L. Kosmowskaja, dance
Katia Labèque, piano
Marielle Labèque, piano
Lang Lang, piano
Jaime Laredo, violin
Alicia de Larrocha, piano
Hulda Lashanska, soprano
Ivan Law, cello
Mark Lawrence, trombone
William Lawrence, piano
Erik Lawrence, piano
Michaela Laza, soprano
Antoine Lederlin, cello
Christine Lee, piano
Karis Lee, viola
Nina Lee, cello
Lotte Lehmann, soprano
Eugene Lehner, viola
Dobrinin Lelik, dance
Lelik and Orlik, dance
Ronald Leonard, cello
Vincent Lertchareonyong, piano
Lorin Levee, clarinet
James Levey, violin
Igor Levit, piano
Richard Levitt, tenor
Mischa Levitzki, piano
Jon Lewis, trumpet
George Li, piano
Buyun Li, piano
Jia Li, pipa
Theo Lieven, piano
Ellie Lim, violin
Cho-Liang Lin, violin
Joseph Lin, violin
Valentina Lisitsa, piano
Judy Loman, harp
Sinclair Lott, horn
Felicity Lott, soprano
Clifford Lott, bass
Jack Lowe, piano
Jerome Lowenthal, piano
Pierre Luboschutz, piano
Madame Lea Luboshutz, violin
Cassandra Luckhardt,
viola da gamba
Nikolai Lugansky, piano
Joseph Lulloff, saxophone
Radu Lupu, piano
Andrew Lvoff, violin
Robert Maas, cello
Madame Sugi Machin, soprano
Alison Mackay, string bass
Archibald MacLeish, libretto
Marie Hughes MacQuarrie, harp
Teiko Maehashi, violin
Nikita de Magaloff, piano
Mischa Maisky, cello
Lily Maisky, piano
Valerie Malvinni, violin
Sofia Malvinni, violin
David Malvinni, guitar
Franco Mannino, piano
Carol Ann Manzi, soprano
Maraca2, percussion
Silvia Marcovici, violin
Mark Markham, piano
Elinor Marlo, mezzo-soprano
Helena Marsh, contralto
Catherine Marshall, bass flute
Malcolm Martineau, piano
Giovanni Martinelli, tenor
Anthony Marwood, violin
Inoue Masaoki, violin
Sophie Maslow, dance
John Mason, horn
Louise E. Massey, soprano
Denis Matsuev, piano
Margaret Matzenauer,
mezzo-soprano
Charles Maxtone-Smith, organ
Mrs. William Maxwell, piano
Edwin McArthur, piano
Paul McCoole, piano
Monique McDonald, soprano
Robert McDuffie, violin
Bobby McFerrin, voice
Rob Roy McGregor, trumpet
Frank McGuire, bodhrán
Dustin McKinney, trumpet
Sylvia McNair, soprano
Heinz Medjimorec, piano
Kathryn Meisle, contralto
Meng Meng, soprano
Yehudi Menuhin, violin
Jeremy Menuhin, piano
Nan Merriman, mezzo-soprano
Darius Milhaud, piano
Nathan Milstein, violin
Shlomo Mintz, violin
Leopold Mittmann, piano
Alexander Mogilevsky, piano
Pierre Moirandat, recitation
Nicolas Moldavan, viola
Ferenc Molnar, viola
Gui (Guillaume) Mombaerts, piano
Gerald Martin Moore, piano
Ivan Moravec, piano
Alfonso Moreno, guitar
Erika Morini, violin
38 CAMA'S 104 TH CONCERT SEASON
Soloists & Recitalists (1920–2022)
(Page 3 of 4)
Molly Morkoski, piano
Isabel Keith Morrison, piano
Leila Livingston Morse,
mezzo-soprano
Gertrude Motto, soprano
May Mukle, cello
Simon Mulligan, piano
Kenneth Munday, bassoon
Anne-Sophie Mutter, violin
Sergei Nakariakov, trumpet
Laura Nalbandgian, dance
Vagen Nalbandgian, dance
Alon Nashman, narrator
Raphael Negrete, dance
Marc Neikrug, piano
Amy Neill, violin
Nils Nelson, piano
Zara Nelsova, cello
Erika Nickrenz, piano
Sylvain Noack, violin
Jessye Norman, soprano
Geoff Nuttall, violin
Andrew von Oeyen, piano
Garrick Ohlsson, piano
Heiichiro Ohyama, viola
Athelda Oliver, soprano
Alphonse Onnou, violin
Ursula Oppens, piano
Christopher O'Riley, piano
Lambert Orkis, piano
Chenoa Orme-Stone, cello
Lillian Ortiz, dance
Anne Sofie von Otter,
(mezzo-)soprano
Vladimir Ovchinikov, piano
Fanny Paccoud, viola
Piotr Paleczny, piano
Mrs. Imogen Avis Palmer, piano
G. Randolph Palmer, tenor
Eugeniusz Papliński, dance
Kevin Park, piano
Jon Kimura Parker, piano
Jamie Parker, piano
Étienne Pasquier, cello
Jean Pasquier, violin
Pierre Pasquier, viola
Irene Maddocks Pattison,
soprano
Mrs. W. G. Paul, contralto
Valentin Pavlowsky, piano
Theodore Paxson, piano
Antony Pay, basset clarinet
Pedro Paz, viola
Elida Pederson, piano
Byron Peebles, trombones
Jan Peerce, tenor
Adela Peña, violin
J.J. Penna, piano
Leonard Pennario, piano
John Pennington, violin
Murray Perahia, piano
Joseph Pereira, timpani
Itzhak Perlman, violin
Louis Persinger, violin
Petra Peršolja, piano
Christy Lee Peterson, soprano
Marius Petipa, choreography
Thomas Petre, violin
Demetri Petsalakis, oud
Frieda Peycke,
composer-interpreter
Matthias Pfaender, cello
William Pfeiffer, flute
Catherine Phelps, violin
Gregor Piatigorsky, cello
Philippe Pierlot, 7-string bass viol
William Pilcher, tenor
Trevor Pinnock, harpsichord
Alfred Pochon, violin
Leon Pommers, piano
Rosa Ponselle, soprano
Helen Portune, soprano
Ruth Posselt, violin
Germain Prévost, viola
Vassily Primakov, piano
William Primrose, viola
Eileen Pritchard, piano
Stephen Prutsman, piano
Dimitri Psonis, oud, santur,
and morisca
Sergei Rachmaninoff, composer
and piano
Albert Rahier, violin
Samuel Ramey, bass
George Perkins Raymond, tenor
Teag Reaves, horn
William Rees, bass
Kurt Reher, cello
Davis Reinhart, piano
Sheila Reinhold, violin
Merrill Remington, oboe
Ken Remo, tenor
Elisabeth Rethberg, soprano
Jeffrey Reynolds, trombones
Samuel Rhodes, viola
Ruggiero Ricci, violin
Rodolfo Richter, violin
Lesley Robertson, viola
Paul Robeson, bass-baritone
Mrs. Hennion Robinson, piano
Sharon Robinson, cello
Elizabeth Rockwell, soprano
Pepe Romero, guitar
Myor Rosen, harp
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
39
History
Stuart Ross, piano
Mstislav Rostropovich, cello
Feri Roth, violin
Daniel Rothmuller, cello
Terry Row, oboe
Connor Rowe, trombone
Edythe Reily Rowe, cello
Alexander Rozhdestvensky, violin
Artur Rubinstein, piano
Belle Rubio, dance
Zlatko Rucner, cello
U. Saidova, dance
Philip Sainton, viola
Nadja Salerno-Sonnenberg, violin
Lise de la Salle, piano
Esa-Pekka Salonen, Director
Carlos Salzedo, harp and piano
Laura Samuel, violin
Sara Sant'Ambrogio, cello
Jordi Savall, viola da gamba,
6-string treble viol, 7-string bass
viol, lira da gamba, and rebab
Lidewij Scheifes, cello
Sir András Schiff, piano
William Schimmel, accordion
Tito Schipa, tenor
Alexander Schmalcz, piano
Rudolph Schmitt, clarinet
Artur Schnabel, piano
Michael Schnitzler, violin
Alice Schoenfeld, violin
Eleonore Schoenfeld, cello
Andreas Scholl, countertenor
Sanford Schonbach, viola
Walter Schulz, cello
Carl Schulze, trumpet
Madame Ernestine
Schumann-Heink, soloist
Katherine Schurmeier, piano
and organ
Joseph Schuster, cello
Astrid Schween, cello
Rudolf Serkin, piano
Peter Serkin, piano
Nestor Serrano, narrator
Asher Severini, piano
Gil Shaham, violin
Shirley Shang, violin
Alexander Shanin, violin
Irene Sharaff, costumes
Nellie Mae Shaw, soprano
Annie Strubbe Shearer, soprano
George Shkultetsky, baritone
Jeffrey Siegel, piano
John Sievers, clarinet
Joseph Silverstein, violin
Dmitry Sitkovetsky, violin
Joel Smirnoff, violin
Gary Smith, tenor
Imogen Seth Smith,
viola da gamba
Joy Pottle Smith, piano
Oliver Smith, scenery
Winifred Smith, contralto
Shaun Smyth, narrator, voice
Elisabeth Söderström, soprano
Anna Sokolow, dance
Emily Sommerman, violin
John Sondquist, piano
Musicians from John Philip
Sousa's Marching Band
Albert Spalding, violin
Mark Sparks, flute
Vladimir Spivakov, violin
Frederica von Stade,
mezzo-soprano
Simon Standage, violin
Jan Stanienda, violin
Tereza Stanislav, violin
Olga Steeb, piano
Mark Steinberg, violin
John Steinmetz, bassoon
Isaac Stern, violin
Eduard Steuermann, piano
Thomas Stevens, trumpet
Reginald Stewart, piano
Morris Stoloff, violin
Lawrence Strauss, tenor
Igor Stravinsky, piano
Marta Sudraba, cello
Xin Sun, guzheng
Bertha Svedrofsky, violin
Gladys Swarthout,
mezzo-soprano
Margaret Sykes, soprano
Henryk Szeryng, violin
Joseph Szigeti, violin
Mathias Tacke, violin
Zauri Takhadze, soloist
Alexander Tansman, piano
Roger Tapping, viola
Dame Kiri Te Kanawa, soprano
Richard Tetley-Kardos, piano
Christian Tetzlaff, violin
Tanja Tetzlaff, cello
Jacques Thibaud, violin
Jean-Yves Thibaudet, piano
Chris Thile, mandolin
John Charles Thomas, baritone
Sarah Thornblade, violin
Lawrence Tibbett, baritone
Michael Tilson Thomas, piano
Jürnjakob Timm, cello
Lubov Timofeeva, piano
Jennifer Tipton, lighting
40 CAMA'S 104 TH CONCERT SEASON
Soloists & Recitalists (1920–2022)
(Page 4 of 4)
Richard Tognetti, violin
Maryem Tollar, voice and qanun
Alexander Toradze, piano
Donald Francis Tovey, piano
Sylvie Tran, flute
Michael Tree, violin
Alexander Treger, violin
Viktor Tretyakov, violin
Daniil Trifonov, piano
Herman Trutner, horn
Kristina Tsanova, violin
Mari Tsumura, violin
Antony Tudor, choreography
Antony Tudor, ballet
Mitsuko Uchida, piano
Paul Ulanowsky, piano
Ula Ulijona, viola
Val Underwood, piano
Dawn Upshaw, soprano
Masuko Ushioda, violin
William Vallandigham, baritone
Brahm Van den Berg, piano
William Van den Burg, cello
Antoni (Anthony) Van der Voort,
violin and piano
Claudia (Kiser) Vanderschraaf,
cello
George Vause, piano
Kosti Vehanen, piano
Louis Velasquez, dance
Maxim Vengerov, violin
Josefina Vergara, violin
Marco Vitale, harpsichord
Allan Vogel, oboe
Jan Vogler, cello
Lars Vogt, piano
Deborah Voigt, soprano
Cynthia Vong, alto flute
Timothy Wakerell, organ
F. Waldmann, piano
Christine Walevska, cello
Lillian Wang, alto flute
Yuja Wang, piano
Nan Wang, erhu
Azeem Ward, flute
Muriel Ward, recitation
Harry Waldo Warner, viola
Christopher Warren-Green, violin
Viola Wasterlain, violin
André Watts, piano
Wu Wei, sheng
Alisa Weilerstein, cello
Hanna Weinmeister, viola
Sidney Weiss, violin
David Weiss, oboe
Jeanne Weiss, piano
Orion Weiss, piano
Richard Weiss, piano
Reinald Werrenrath, baritone
Joseph Wetzels, cello
Roderick White, violin
Arthur Whittemore, piano
Leslie Whytal (Janney), cello
Mary Wigman, dance
Axel Wilczok, violin
John Williams, guitar
Blair Williams, narrator
Stephen Williamson, clarinet
Seidler Winkler, piano
Barbara Winters, oboe
Henry Woempner, flute
Norman S. Wright, piano
Isabelle Yalkovsky (Byman), piano
Joyce Yang, piano
Audrey Yoder, soprano
Richard Young, viola
Alana Youssefian, violin
Pinshu Yu, piano
Yascha Yushny, dance
Besnik Yzeiri, viola
Christian Zacharias, piano
Alexander Zakin, piano
Maurice Zam, piano
Charles Zebley, flute
Qi Zhou, violin
Natalie Zhu, piano
Areta Zhulla, violin
Efrem Zimbalist, violin
Krystian Zimerman, piano
Nikolaj Znaider, violin
Pinchas Zukerman, violin
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
41
CAMA’S FUTURE:
CAMA’s mission is to enrich Santa Barbara’s cultural life by bringing live performances by worldrenowned
classical artists and orchestras of the highest artistic excellence to our community
and by providing creative, focused music education programs for individuals of all ages.
CAMA thanks and honors the following members of the CAMA community who have
contributed to CAMA’s Endowment. A commitment to CAMA’s Endowment ensures the
success of CAMA’s next 100 years. Gifts at every level are deeply appreciated.
James H. Hurley, Jr. and Judith L. Hopkinson
Co-Chairs, CAMA Endowment
CONDUCTOR'S CIRCLE
$500,000 and above
Suzanne & Russell Bock
Linda Brown*
SAGE Publishing
Elaine Stepanek
Esperia Foundation
CRECENDO CIRCLE
$250,000–$499,999
Bitsy & Denny Bacon and
The Becton Family Foundation
The Andrew H.
Burnett Foundation
Robert & Christine Emmons
Judith L. Hopkinson
Herbert & Elaine Kendall
Mary Lloyd & Kendall Mills
CADENZA PATRONS
$100,000–$249,999
Mary & Raymond Freeman
The Stephen & Carla
Hahn Foundation
Shirley Ann & James H. Hurley, Jr.
Nancy & William G. Myers
Jan Severson
Judith F. Smith
The Towbes Fund for
the Performing Arts
George & Judy Writer
RONDO PATRONS
$50,000–$99,999
Ruth Appleby
Deborah & Peter Bertling
Linda & Peter Beuret
Dr. Dolores M. Hsu
Lois Sandra Kroc
The Samuel B. & Margaret C.
Mosher Foundation
Santa Barbara Bank & Trust
Nancy & Byron Kent Wood
CONCERTO PATRONS
$25,000–$49,999
Jane Catlett
Bridget B. Colleary
Suzanne Faulkner
Léni Fé Bland
Raye Haskell Melville
Joanne C. Holderman
Hutton Parker Foundation
Sara Miller McCune
Mr. & Mrs. Frank R. Miller, Jr./
The Henry E. & Lola Monroe
Foundation
Efrem Ostrow Living Trust
Craig & Ellen Parton
Diana & Roger Phillips
Linda Stafford Burrows
The Walter J. & Holly O. Thomson
Foundation
Barbara & Sam Toumayan
SONATA PATRONS
$10,000–$24,999
Anonymous
Rebecca & Peter Adams
Denise & Stephen Adams/
Adams Family Foundation
Marta Babson
Else Schilling Bard
Edward & Sue Birch
Frank Blue & Lida Light Blue
Bob Boghosian &
Beth Gates-Warren
Elizabeth & Andrew Butcher
The CAMA Women's Board
Virginia Castagnola-Hunter
Margo Chapman
NancyBell Coe & William Burke
Karen Davidson, M.D.
Nancyann & Robert Failing
Rosalind Amorteguy-Fendon
& Ronald Fendon
Priscilla & Jason Gaines
Arthur R. Gaudi
Sherry & Robert Gilson
Lorraine C. Hansen
Mary & Campbell Holmes
Patricia Kaplan
Winona Fund
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Laura Kuhn
John Lundegard
Keith Moore
Jayne Menkemeller
Betty Meyer
Mary & James Morouse
Myra & Spencer Nadler
Pat Hitchcock O'Connell
John Perry
Marjorie & Hugh Petersen
John & Ellen Pillsbury
Susannah Rake
Michele & Andre Saltoun
Anitra & Jack Sheen
Sally & Jan E.G. Smit
Constance Smith
The Elaine F. Stepanek
Foundation
Betty J. Stephens
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
David & Lisa Wolf
*promised
Gifts received by September 13, 2022
MOZART SOCIETY
Rebecca & Peter Adams
Bitsy & Denny Bacon and
The Becton Family Foundation
Deborah & Peter Bertling
Linda & Peter Beuret
Frank Blue & Lida Light Blue
Linda Brown
Elizabeth & Andrew Butcher
Virginia Castagnola-Hunter
Jane Catlett
Bridget B. Colleary
Karen Davidson, M.D.
Robert & Christine Emmons
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla & Jason Gaines
Arthur R. Gaudi
Lorraine C. Hansen
Raye Haskell Melville
Joanne C. Holderman
Judith L. Hopkinson
Dr. Dolores M. Hsu
Shirley Ann & James H. Hurley, Jr.
Herbert & Elaine Kendall
Mahri Kerley/Chaucer's Books
Lynn P. Kirst
Lois Sandra Kroc
John Lundegard
Keith Moore
Mary Lloyd & Kendall Mills
Myra & Spencer Nadler
Craig & Ellen Parton
Diana & Roger Phillips
John & Ellen Pillsbury
Andre & Michele Saltoun
Judith F. Smith
Barbara & Sam Toumayan
Mark E. Trueblood
Marilyn Vandever
Barbara & Gary Waer
Nancy & Byron Kent Wood
Gifts received by September 13, 2022
We gratefully acknowledge all CAMA Mozart Society and Legacy
Society members for their gifts to CAMA’s endowment, ensuring
CAMA’s mission to bring the world’s greatest classical artists to
Santa Barbara for years to come.
This season's annual Mozart Award Dinner honors
Mary & Ray Freeman and will be held January 28, 2023.
Thank you
CAMA TODAY:
INTERNATIONAL CIRCLE Annual gifts $1,500 and above
Anonymous (4)
Ann Jackson Family Foundation
Sylvia Abualy
Todd & Allyson Aldrich Family
Charitable Fund
Jane & Kenneth Anderson
Peggy & Kurt Anderson
Argonaut Charitable Foundation
Marta Babson
Bitsy & Denny Bacon and
The Becton Family Foundation
Isabel Bayrakdarian
Deborah & Peter Bertling
Linda & Peter Beuret
Jerry & Geraldine Bidwell
Edward & Sue Birch
Bob Boghosian &
Beth Gates-Warren
Shelley & Mark Bookspan
Diane Boss
Alison & Jan Bowlus
Cynthia Brown & Arthur Ludwig
Wendel Bruss
Michele Brustin
Suzanne & Peyton Bucy
Barbara Burger and Paul Munch
Alison H. Burnett
Dan & Meg Burnham
Elizabeth & Andrew Butcher
Louise & Michael Caccese
Annette & Richard Caleel
The CAMA Women's Board
Susan & Claude Case
Roger & Sarah Chrisman,
Schlinger Chrisman Foundation
Patricia Clark
Lavelda & Lynn Clock
Stephen Cloud
Betsy & Kenneth Coates
Bridget B. Colleary
Joan & Steven Crossland
Gregory Dahlen III &
Christi Walden
Ms. Jan Davis-Hadley
Janet Davis
Janet & Roger DeBard/
DeBard Johnson Foundation
Sheryl & Michael DeGenring
Edward S. DeLoreto
Margaret & Ronald Dolkart
Nancy Donaldson
Elizabeth & Kenneth Doran
Glenn & Karen Doshay
Ann & David Dwelley
Wendy & Rudy Eisler
Julia Emerson
Lauren Emma
Robert & Christine Emmons
Frederika & Dennis Emory
Nancy Englander
Bob & Margo Feinberg
Jill Felber & Paul A. Bambach
Rosalind Amorteguy-Fendon
& Ronald Fendon
Mary & Raymond Freeman
Priscilla Gaines
Catherine H. Gainey
Tish Gainey & Charles Roehm
Dorothy & John Gardner
Arthur R. Gaudi
Sandy & Jerry Gothe
George H. Griffiths and Olive J.
Griffiths Charitable Fund
The Stephen & Carla
Hahn Foundation
David Hamilton
William S. Hanrahan
Raye Haskell Melville
Renee & Richard Hawley
Maison K
Henry E. Lola Monroe Foundation
Barbara Hirsch
Ronda & Bill Hobbs
Gerhart Hoffmeister
Joanne C. Holderman
Hollis Norris Fund
Judith L. Hopkinson
Natalia & Michael Howe
Shirley Ann & James H. Hurley, Jr.
Jackie Inskeep
Karin Jacobson
Gina & Joseph Jannotta
Diane Johnson
Ellen & Peter Johnson
Elizabeth Karlsberg & Jeff Young
William H. Kearns Foundation
Mr. James P. Kearns
Herbert Kendall
Connie & Richard Kennelly
Jill Dore Kent
Mahri Kerley/Chaucer's Books
Kum Su Kim & John Perry
Sally Kinney
Lynn P. Kirst
Thomas & Travis Kranz
Lois S. Kroc
Chris Lancashire
Stefanie L. Lancaster Charitable
Foundation
MaryAnn Lange
Elinor & James Langer
Kathryn Lawhun & Mark Shinbrot
Shirley & Seymour Lehrer
Dodie Little
Christie & Morgan Lloyd
Nancy Lynn
Maureen Masson
Phyllis Brady & Andy Masters
Ruth & John Matuszeski
44 CAMA'S 104 TH CONCERT SEASON
ANNUAL GIFTS
Thank you International Circle Members!
CAMA sincerely appreciates your support for our mission
to bring great orchestras and soloists to Santa Barbara
and to introduce young people to classical music.
–Chris Emmons, International Circle Chair
Donald & Karine McCall
Dona & George McCauley
Sara Miller McCune
Jeffrey McFarland
Frank McGinity | Debbie Geremia
Patriicia & William McKinnon
Jocelyne & William Meeker
Sally & George Messerlian
Robert Miller & Susie Triolo Miller
Montecito Bank & Trust
Bob & Val Montgomery
Stephen J.M. & Anne Morris
Peter L. Morris
Mosher Foundation
Maryanne Mott
Russell Mueller
Mrs. Raymond King Myerson
Karin Nelson & Eugene Hibbs/
Maren Henle
Fran & John Nielsen
Northern Trust
Ellen Lehrer Orlando &
Thomas Orlando
Gail Osherenko & Oran Young
Patti Ottoboni
Anne & Daniel Ovadia
Craig & Ellen Parton
Carol & Kenneth Pasternack
Samuel F. Pellicori
Performing Arts
Scholarship Foundation
Patricia Perry
Diana & Roger Phillips
Ann M. Picker
John & Ellen Pillsbury
Minie & Hjalmar
Pompe van Meerdervoort
Carol & Edward Portnoy
William H. Kearns Foundation
The Roberts Brothers Foundation
Jacy Romero
Monica Romero
Regina & Rick Roney
Merlin Rossow
SAGE Publishing
Michele Saltoun
Ada B. Sandburg
William E. Sanson
Santa Barbara Foundation
City of Santa Barbara
Lynn & Mark Schiffmacher
Nancy Schlosser
Shanbrom Family Foundation
Maureen & Les Shapiro
Anitra Sheen
Halina W. Silverman
Eric Small
Delia Smith
Judith F. Smith
Barbara & Wayne Smith
Linda Stafford Burrows
The Elaine F.
Stepanek Foundation
Marion Stewart
The Stone Family Foundation
Diane Sullivan
Elaine & Robert Sweet
Mr. Clay Tedeschi
Pamala Temple
Suzanne Holland &
Raymond Thomas
The Walter J. & Holly O.
Thomson Foundation
Milan E. Timm
Barbara & Sam Toumayan
Anne Smith Towbes
TheTowbes Fund for the
Performing Arts, a field of
interest fund of the
Bicky Townsend
Mark E. Trueblood
Steven Trueblood
Dr. Shirley Tucker
Carol Vernon & Robert Turbin
Esther & Tom Wachtell
Barbara & Gary Waer
Sheila Wald
Nick & Patty Weber
Robert Weinman
Judy L Weisman
Westmont College
Victoria & Norman Williamson
Nancy & Byron Kent Wood
George & Beth Wood
George & Judy Writer
Grace & Edward Yoon
Patricia Yzurdiaga
Zegar Family Fund
Cheryl & Peter Ziegler
Ann & Dick Zylstra
Winona Fund
Gifts received by September 13, 2022
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
45
CAMA TODAY: ANNUAL GIFTS
MUSICIANS SOCIETY
Annual gifts up to $1,000
CAMA thanks our Musicians Society for their annual support.
CONTRIBUTORS
Glenn Jordan & Michael Stubbs
Maggy Cara
Michael & Ruth Ann Collins
Nancy & Frederic Golden
Debbie & Frank Kendrick
Phyllis Brady & Andy Masters
Sun Ae & Andrew Mester
Maureen O'Rourke
Gaines Post
Doris & Bob Schaffer
ASSOCIATES
Julie Antelman & William Ure
Alison H. Burnett
Margaret & David Carlberg
Joanne & John Chere
Meg & Jim Easton
Thomas & Doris Everhart
Marie-Paule & Laszlo Hajdu
Ronda & Bill Hobbs
Anna & Petar Kokotovic
Amanda McIntyre
Christine & James V. McNamara
Ted and Kay Stern
Laura Tomooka
Mary H. Walsh
FRIENDS
Irwin and Roslyn Bendet
Polly Clement
Thomas Craveiro
Susan & Larry Gerstein
Susan Harbold
Christine Hoehner
Ms. Pita Khorsandi
Lori Kraft Meschler
Jean Perloff
Joan Tapper & Steven Siegel
Mr. Charles Harvey Talmadge
Ms. Renee Templeraud
Mr. Charles Weis
Fritz and Hertha Will
Gifts received by September 13, 2022
MEMORIAL GIFTS
IN MEMORY OF
Michelle "CoCo" Ogburn
Margaret & Ronald Dolkart
Prof. Frederick F. Lange
MaryAnn Lange
Lynn Robert Matteson, PhD
Lynn P. Kirst
Mrs. Raymond King Myerson
William Hanrahan
46 CAMA'S 104 TH CONCERT SEASON
MUSIC EDUCATION
$25,000 and above
Elaine F. Stepanek Foundation
The Walter J. & Holly O. Thomson Foundation
$10,000–$24,999
Ms. Irene Stone/ Stone Family Foundation
Mary Lloyd & Kendall Mills
Mr. & Mrs. Frank R. Miller, Jr. /
The Henry E. & Lola Monroe Foundation
$1,000–$9,999
CAMA Women's Board
William H. Kearns Foundation
Stefanie L. Lancaster Charitable Foundation
Sara Miller McCune
James P. and Shirley F. McFarland Fund
of the Minneapolis Foundation
Performing Arts Scholarship Foundation
Westmont College
$100–$999
Becky & William Banning
William S. Hanrahan
Lynn P. Kirst
CAMA Education Endowment
Fund Income
$50,000 AND ABOVE
Mary Lloyd Mills
$1,000–$4,999
Linda Stafford Burrows
$1,000–$4,999
Linda Stafford Burrows –
This opportunity to experience great musicians excelling is
given in honor and loving memory of Frederika Voogd
Burrows to continue her lifelong passion for enlightening
young people through music and math.
Kathryn H. Phillips, in memory of Don R. Phillips
Walter J. Thomson/The Thomson Trust
$50–$999
Lynn P. Kirst
Keith J. Moore
Performing Arts Scholarship Foundation
Marjorie S. Petersen
Gifts received by September 13, 2022
Volunteer docents are trained by CAMA's Education
Committee Chair Joan Crossland to deliver this
program to area schools monthly. Music enthusiasts
are invited to learn more about the program and
volunteer opportunities.
Call the CAMA office at (805) 966-4324 for
more information about the docent program.
With special thanks to
Sullivan Goss
CAMA AT THE GRANADA THEATRE • CHICAGO SYMPHONY ORCHESTRA
47
BUSINESS SUPPORTERS
We thank the many businesses that support
CAMA's programs and events!
Alicia Bair Florals
Laurel Abbott, Berkshire
Hathaway Luxury Properties
Alma Rosa Winery
Babcock Winery
James P. Ballantine
David Bazemore
Bertling Law Group
Bibi Ji
Blue Star Parking
bouchon
Kay Bowman Catering
Brander Vineyard
Wes Bredall
Ca' Dario Ristorante
Camerata Pacifica
Catering Connection
Cebada Wine
The Cheese Shop
Chaucer's Books
Chocolats du CaliBressan
Custom Printing
eji experiences
Eye Glass Factory
Felici Events
Flag Factory of
Santa Barbara
Frequency Wine
Gainey Vineyard
The Good Lion Hospitality
Grassini Family Vineyards
Grimm’s Bluff
Hogue & Company
Holdren's Catering
Inside Wine Santa Barbara
Kristin Jackson
Graphic Design
Jano Printing & Mailworks
Kaleidoscope Flowers
Kay Bowman Catering
Kunin Wines
Le Sorelle
Little Things Bakery
Lobero Events
Lumen Wines
M4 Interactive
Maravilla/Senior
Resource Group
Mercury Press International
Montecito Bank & Trust
Montgomery Vineyard
Northern Trust
Olio e Limone/Olio Crudo
Bar/Olio Pizzeria
Opal Restaurant & Bar
Opera Santa Barbara
Pacific Coast
Business Times
Pali Wine Co.
Performing Arts
Scholarship Foundation
Presqu’ile Winery
SAGE Publishing
Santa Barbara Foundation
Santa Barbara
Travel Bureau
Savoir Faire
Sullivan Goss
The Tent Merchant
Town and Country Rentals
The Upham Hotel
Via Maestra 42
Waiākea Water
Westmont Orchestra
wine country cuisine
in the heart of the Historic Arts District
Santa Barbara ‘Wine Country Cuisine’ means
we source our ingredients using an ‘as-fresh-andas-local-as-possible’
approach, with fish from
the Santa Barbara Channel and produce from
the surrounding countryside. We then take into
account how these flavors can be presented in
concert with our local wines.
dinner nightly
Sunday-Thursday 5-9pm
Friday-Saturday 5-10pm
bouchon
Photo by Mark Allan
9 west victoria street | 805.730.1160 | bouchonsantabarbara.com
Northern Trust would
like to dedicate this
season to our friend
and CAMA supporter
ANDRE
SALTOUN
(1930 - 2020)
For over 133 years, Northern Trust has been caring for our
clients’ financial needs with a commitment to invest in the
communities we serve. We are proud to continue playing
this supportive role with Community Arts Music Association
of Santa Barbara.
TO LEARN MORE VISIT
northerntrust.com
WEALTH PLANNING | BANKING | TRUST & ESTATE SERVICES | INVESTING | FAMILY OFFICE